We found 34357 price guide item(s) matching your search

A collection of costume jewellery to include gilt metal necklaces, white metal Chinese jade type bangles and jewellery, Cinnabar type bangle; etc; snuff bottles

A carved Chinese jade comb along with an Islamic brass finial with a sickle and star and an eastern brass engraved powder flask. L. 17 (largest)

A small Chinese rug with floral central medallion on a jade ground with complementary borders. L.100 x W.64cm

A Chinese carved amethyst pendant, designed as a peach with a foliate surmount, length 3.6cm, with a neckchain, length 61.5cm, a Chinese gilt metal mounted jade bracelet, the oval panel carved and pierced in a floral design, on a snap clasp, detailed 'China', and a Chinese carved lapis lazuli and base metal filigree necklace on a snap clasp, detailed 'China'.Buyer’s Premium 29.4% (including VAT @ 20%) of the hammer price. Lots purchased online via the-saleroom.com will attract an additional premium of 6% (including VAT @ 20%) of the hammer price.

A Chinese apple and celadon jade pendant, carved with a flying bat, length 57mm. Condition - good, general wear including minor scratches etc. no chips or cracks.

A LARGE CHINESE WASHED AND FRINGED CARPET, early 20th century, the jade green centre with cinnamon border and soft pink guard, with sprays of flowering branches and vases of flowers in purple, blue and shades of brown, 14' 4 1/2" x 12' (Est. plus 21% premium inc. VAT)Some wear to pile to end end mainly as per photos, wear to fringes but not affecting main pile

A jade ring, the oval cabochon in a rubover setting between broad tapering shoulders bright-cut engraved with a phoenix and Chinese dragon, indistinct stamp, (jade untested), ring size S. £300-£400

A Chinese blue & white plate, two Chinese blue & white Ginger Jars and a jade coloured lidded vase.  Minor chips to plate rim, jars have no lids and very tiny chips.

A collection of six Chinese jade pendants,comprising: one circular, carved with a goose among lotus leaf, 5.3cm diameter, one with two confronting Chilong surrounding bamboo, 6.1cm long, one of a mongoose above a fruiting vine, 6.7cm high, and three others, 5.1cm high, 5.2cm high, and 5.4cm high (6)Condition report: All with minute chips to edges.Mongoose - natural cracks

Two Chinese jade carvings, comprising: a plaque, of a boy carrying a lotus flower and leaf over his shoulder, 9cm high, and another of a horse5.5cm long, and a green jade bangle8.6cm diameter (3)Condition report: Boy - natural crack and russet inclusions.Horse - natural cracks, russet inclusions.Bangle - Possibly dyed, not tested.

A Chinese jade carving of a boy with a goose, 5.2cm long, together with another of a boy with a butterfly to the front, 5cm long (2)Condition report: Boy with goose - natural cracks.Boy with butterfly - russet inclusions.

Chinese simulated jade chess set, in a folding chessboard, width 46cm; and a collection of masks and other novelties.

Modern Chinese jade pendant and a collection of various costume jewellery and Swiss Dreyfuss & Co jewellery box in original carton

Four Chinese jade miniature drinking vessels

A Chinese bowenite jade carving of a boy with a branch,5.5 cms high.

A set of vintage 20th century Franklin Mint glass jade style figures as part of The Guardians of the Ming Dynasty series by Franklin Heirloom Glass. The collection to include elephants, camel, horses and fu / foo dogs. Accompanied by certificate of authenticity and brochure listing the animals and their significance to Chinese culture. Measures 8cm tall.

Two Chinese Qing dynasty stone snuff bottles, the first of seladon green jade carved in relief with two rain dragons, the second of grey-lilac banded agate, the writhing dragon to the front picked out in beige, heights 5.5cm and 6.2cm (not including stoppers)

A Pair Of Chinese Jade Carved Models in the form of fou dogs 6 cms tall together with a horn and bone paperweight

A RARE GILT-DECORATED CELADON JADE FIGURE OF BUDDHA AMITABHA, QING DYNASTYChina, 1644-1912. Boldly carved seated in dhyanasana with his hands lowered in dhyana mudra, the loose-fitting robes cascading in voluminous folds draped over his left shoulder, picked out in gilt, and decorated with blossoms and diapered designs. The serene face with heavy-lidded eyes below gently arched eyebrows, a prominent nose, and full lips forming a benevolent smile, flanked by large elongated earlobes. The translucent stone is of a celadon tone with cloudy white inclusions.Provenance: From an English private collection, acquired no later than the 1960s. Thence by descent.Condition: Good condition with minor old wear and few small nicks. The back of the head with a bruise and associated loss, not visible from the front. Rubbing to gilt.Weight: 1,131 g Dimensions: Height 16.8 cmBuddhism flourished during the Qing dynasty, and was encouraged by the devotion of the Kangxi, Yongzheng and Qianlong emperors and their successors. As a result of its popularity, the production of Buddhist statuary, ritual objects, vessels and other implements became widespread, and a variety of materials was employed in their manufacture.Literature comparison: For a related jade figure of Buddha with gilt decoration to his face, see Compendium of Collections in the Palace Museum, Jade, vol. 8, p. 271, no. 235. Compare a related jade figure of Buddha illustrated in The Complete Collection of Treasures of the Palace Museum, Jadeware II, 2008, p. 207, no. 171. Compare a celadon jade gilt-lacquered figure of Guanyin at Christie's London, 19 June 2001, lot 204, sold for GBP 14,100. Note that the Christie's Guanyin was sold 20 years ago and thus the result does not adequately reflect the current value of this lot.Auction result comparison: Compare a related jade figure of Buddha, dated 18th-19th century, at Christie's New York in Fine Chinese Ceramics and Works of Art on 23 March 2012, lot 1803, sold for USD 242,500. Compare a related celadon jade figure of Buddha, dated 18th century, at Sotheby's London, 7 November 2012, lot 231, sold for GBP 70,850. Compare a related white jade figure of Amitayus, dated to the Qianlong period, at Christie's New York in Fine Chinese Ceramics and Works of Art on 26 March 2010, lot 1112, sold for USD 134,500. Compare a related pale green jade figure of Amitayus, dated 17th-18th century, at Bonhams London in Fine Chinese Art on 13 May 2021, lot 27, sold for GBP 97,750. 清代罕見鎏金青玉阿彌陀佛像中國，1644-1912年。佛陀坐禪，雙手施禪定印；長袍寬鬆，披於左肩，右肩裸露，衣沿覆蓋右腳踝，胸前衣褶優雅垂墜，鎏金，並飾有花卉圖案。面部表情安詳，厚重的眼瞼在微微拱起的眉毛下，突出的鼻子，豐滿的嘴唇形成仁慈的微笑，兩側是長長的耳垂。半透明的玉料呈青色調，帶有混濁的白色絮狀物。來源：英國私人收藏，購於1960年代前，保存至今。品相：狀況良好，有輕微舊磨損和少量小劃痕。 頭部後部有擦傷和相關缺損，從正面看不到，摩擦至鎏金。重量：1,131 克尺寸：高16.8 釐米拍賣結果比較：比較一件相近玉雕佛像，十八至十九世紀，見紐約佳士得 Fine Chinese Ceramics and Works of Art 2012年3月23日 lot 1803, 售價USD 242,500。比較一件相近的青玉雕佛像，十八世紀，見倫敦蘇富比2012年11月7日 lot 231, 售價GBP 70,850。比較一件相近的乾隆時期白玉阿彌陀佛像，見紐約佳士得 Fine Chinese Ceramics and Works of Art 2010年3月26日 lot 1112, 售價USD 134,500。比較一件青綠色玉雕阿彌陀佛像，十七至十八世紀見倫敦邦翰思Fine Chinese Art 2021年5月13日 lot 27, 售價GBP 97,750。

A YELLOW AND RUSSET JADE ZODIAC FIGURE OF A MONKEY, LATE QING TO REPUBLICChina, 19th to first half of 20th century, or possibly earlier. Well carved as a seated monkey wearing a loose-fitting monastic robe and holding a rosary in both hands, its face neatly detailed with incised wrinkles to the forehead. The translucent stone of a pale yellow tone with a nuance of green and several russet veins and cloudy inclusions.Provenance: Collection particuliere française.Condition: Excellent condition with minor old wear and possibly microscopic nicks. The stone with natural fissures, some of which may have developed into small hairline cracks over time. The jade with a fine, unctuous feel overall which indicates extensive handling over a long period of time.Weight: 77.9 g Dimensions: Height 5.9 cmAstrology was an important part of life in traditional China. Marriages, the opening of a business, relocation, travel, and burial were just some of the activities dictated by the astrological signs of those involved. Despite the importance of astrology in Chinese culture, representations of the twelve zodiac animals are surprisingly rare, especially in jade. The monkey is the ninth zodiac sign and represents shen, the ninth of the earthly branches.Literature comparison: Compare a set of twelve jade zodiac figures, dated 18th-19th century, in the collection of the Metropolitan Museum of Art, accession number 02.18.730a–l. For another complete set of twelve from the 18th century, see Jadeware (III), The Complete Collection of Treasures of the Palace Museum, Hong Kong, 1995, pl. 111. Another set of twelve from the later Qing dynasty is illustrated in A Romance with Jade from the De An Tang Collection, Hong Kong, 2005, pl. 76. 清末民初黃玉雕猴中國，十九世紀至二十世紀上半葉，或更早。猴子身穿寬鬆的僧袍，雙手捧著念珠，面部前額的皺紋清晰可見。淺黃色調的半透明玉料，帶有細微的綠色和幾條赤褐色的脈絡和絮狀物。 來源：法國收藏。 品相：狀況極佳，有輕微的舊磨損和可能的細微刻痕。天然紋理玉料，隨著時間的推移，其中一些可能已經發展成細小的裂縫。玉石整體細膩瑩潤。重量：77.9 克 尺寸：高5.9 厘米

A WHITE JADE 'SQUIRRELS AND GRAPES' PENDANT, 18TH CENTURYChina. Finely carved and pierced to depict two squirrels clambering on a cluster of grapes borne on a gnarled stem, the large leaves with superbly carved jagged edges and neatly incised veins. The translucent stone of a white tone with cloudy and faint russet inclusions. Superb manually applied polish.Provenance: From a private collection in New York City, New York, USA.Condition: Excellent condition with minor old wear. The stone with few natural fissures, some of which may have developed into microscopic hairline cracks over time.Weight: 38.6 gDimensions: Length 6.5 cmOld suspension cord with strings of sweetwater pearls and red glass beads in imitation of coral, dating to the late Qing dynasty or Republic period.Auction result comparison: Compare a related white jade carving depicting a squirrel clinging onto a cluster of grapes, dated 18th-19th century, at Sotheby's New York in Fine Chinese Ceramics & Works of Art on 17 September 2013, lot 100, sold for USD 37,500; and another dated to the Qing dynasty at Sotheby's Hong Kong in Chinese Art on 28 November 2019, lot 610, sold for HKD 87,500. 十八世紀“松鼠葡萄”白玉掛件 中國。兩隻松鼠爬上一串葡萄，松鼠生動活潑，葡萄晶瑩潤澤，莖葉雕刻精美。玉料潤白含内沁，精湛的手工拋光。 來源：美國紐約私人收藏。 品相：狀況極好，有輕微磨損。玉料有輕微天然紋理，隨著時間的推移，其中一些裂縫可能會發展成微小的裂縫。 重量：38.6 克 尺寸：長 6.5 厘米 老吊繩，串著淡水珍珠和仿珊瑚的紅色玻璃珠，可追溯到晚清或民國時期。 拍賣結果比較：比較一件相近的十八至十九世紀松鼠葡萄白玉擺件，見紐約蘇富比Fine Chinese Ceramics & Works of Art 2013年9月17日 lot 100, 售價USD 37,500; 另一件清代拍品見香港蘇富比Chinese Art 2019年11月 28日 lot 610, 售價HKD 87,500。

A GREEN AND BROWN JADE FISH-FORM PENDANT, SHANG TO WESTERN ZHOU DYNASTYChina, 13th-10th century BC. Of flattened form, finely carved as a fish with a leafy sprig in the mouth, the dorsal fin openworked and further pierced for suspension, with a second suspension hole to the lower body. The large round eyes are deeply incised, the body with further triangle decorations. The translucent stone of an olive-green tone with extensive patches of russet-brown and black specks.Provenance: Virginia Frizzell, San Francisco, 18 April 1973. Mohawk Gallery, New Jersey, acquired from the above. A private collector in New York, USA, acquired via the above. Thence by descent. The reverse with three old labels, '52', '3368', and 'CB 147'. A copy of the original invoice from Virginia Frizzell, dated 18 April 1973, listing the present lot as '#52 Fish', and naming Mohawk Gallery as the customer, accompanies this lot. A copy of the private collector's personal handwritten notes, stating the collection number 52, the material nephrite, the date of purchase of 18 April 1973, the reference number of the GIA report no. 669550, and with two old kodak photographs of the present lot, accompanies this lot.Condition: Excellent condition, commensurate with age. Extensive wear, signs of weathering and erosion, few minuscule nicks. Natural inclusions, imperfections and minuscule fissures. With a smooth, unctuous feel overall and a fine, naturally grown patina.Scientific Analysis Report: A signed and stamped report from the Gemological Institute of America (GIA) for Mohawk Gallery, no. 669550, dated 2 May 1973, confirms that the present lot is nephrite jade and describes the piece as “semi-translucent variegated green and brown carved fish measuring approx. 61/4 x 2x1/4 inches”. A copy of this report accompanies this lot.Weight: 85.6 gDimensions: Length 15.8 cmAuction result comparison: Compare a related jade fish pendant, dated Shang dynasty or later, also of flattened form and with similar eyes, the jade however calcified, at Bonhams Hong Kong in Fine Chinese Ceramics and Works of Art on 28 May 2019, lot 101, sold for HKD 275,625, a pair of related fish-form pendants dated to the Western Zhou dynasty, also of flattened form and with similar eyes, at Christie's Hong Kong in Chinese Archaic Jades from the Yangdetang Collection on 29 November 2017, lot 2739, sold for HKD 437,500, and another fish-form pendant dated to the Western Zhou dynasty, of a similar brownish-green jade, at Christie's New York in Important Chinese Ceramics and Works of Art on 13 September 2019, lot 816, sold for USD 25,000.商至西周魚形佩中國，公元前十三至十世紀。佩身扁平，魚形，翹嘴，嘴裡啣著一枝樹枝，邊緣薄削，背鰭鏤空穿孔用以懸掛，魚肚有第二個懸掛孔。魚眼大而圓，魚身表面有三角紋裝飾。青綠色調的半透明玉料，帶有大量的赤褐色和黑色斑點。 來源：舊金山Virginia Frizzell藝廊，1973年4月18日。新澤西Mohawk Gallery藝廊，購於上述藝廊；紐約私人收藏，購於上述藝廊，保存至今。背面有三個老標籤，分別注明 '52', '3368', 與 'CB 147'。隨附原始Virginia Frizzell發票 ，時間爲1973年4月18日，此拍品為 '#52 Fish'，而Mohawk Gallery 是顧客的發票複印件。隨附私人藏家手寫注釋複印件，注明收藏編號爲 52，材料為和田玉，購於1973年4月18日，GIA 報告編號爲 669550, 並此拍品的兩張柯達照片。 品相：狀況極佳，與年齡相稱。廣泛磨損、風化和侵蝕的跡象，少量微小的刻痕。天然内沁、瑕疵和微小裂縫。整體光滑潤澤。 科學檢測報告：美國GIA研究所為 Mohawk Gallery所做的檢測，編號 669550，1973年5月2日，確認此拍品為和田玉，並描述為 “semi-translucent variegated green and brown carved fish measuring approx. 61/4 x 2x1/4 inches”（半透明綠褐色魚形佩件，61/4 x 2x1/4 英寸）。隨附此報告複印件。 重量：85.6 克 尺寸：長 15.8 厘米 拍賣結果比較：比較一件相似的商代或更晚的魚形玉件，相似形狀和眼部刻畫，見香港邦翰思Fine Chinese Ceramics and Works of Art 2019年5月28日 lot 101, 售價HKD 275,625；一對西周扁平的魚形玉佩件，見香港佳士得Chinese Archaic Jades from the Yangdetang Collection 2017年11月29日 lot 2739, 售價HKD 437,500；另一件西周綠褐色魚腥玉佩件見紐約佳士得Important Chinese Ceramics and Works of Art 2019年9月13日 lot 816, 售價USD 25,000。

A RARE YELLOW JADE 'RUYI' VASE, QIANLONG MARK AND PERIODChina, 1736-1795. Of flattened form and rectangular section, the ruyi-shaped body supported on a thick spreading foot and rising to a waisted neck flanked by two distinct elephant handles suspending mock rings. Superbly carved with two lotus sprays on each side, one within the ruyi-shaped apron and the other to the neck against a finely incised wan ground, with a band of ruyi-heads below the mouth and archaistic comma-spirals above the foot. The translucent stone of an intense and pure yellow tone. The recessed base incised with a four-character mark Qianlong nianzhi and of the period.Provenance: Formerly the property of a gentleman in Paris.Condition: Very good condition with minor wear, small nicks to exposed areas, occasional light scratches, the foot possibly smoothened.Weight: 182.5 g Dimensions: Height 10.6 cmWith a carved and fitted hardwood stand, Qing Dynasty, possibly 18th century. (2)Among nephrite jades of ink-black, spinach-green, celadon, yellow, and white tones, it is the yellow jades that were considered as the most rare. As early as 1388, it is recorded in the Gegu yaolun (The Essential Criteria of Antiquities), that the best yellow jade should be stones with the “colour of the chestnut kernel, known also as pure [literally 'sweet'] yellow, are the most valuable. The smoky yellow is the next in quality”, see Sir Percival David, Chinese Connoisseurship, London, 1971, p. 120.The varying yellow tones are subtle and difficult to differentiate. Yang Boda distinguished them in Zhongguo Yuqi Quanji, Vol. 6, Hebei, 1991. The yellow jades of chestnut tone are particularly precious and valuable, such as the archaistic baluster vase in the Palace Museum Collection, decorated with taotie masks between cicada motifs, ibid. p. 591, no. 204. The other categories of yellow are known as 'corn kernel', ibid. p. 588, no. 190 (a pear-shaped archaistic vase), 'sweet pear', p. 544, no. 41 (a jade rhyton), 'interior with light celadon shimmer', ibid. p. 598, no. 235 (a recumbent elephant supporting a vase on its back), and 'autumn mallow', ibid. p. 600, no. 241 (a cylindrical covered vase).Literature comparison: The ruyi-shaped body as seen on the present vase is extremely rare. For a celadon-glazed vase and cover, with a Qianlong mark and of the period, with a similar ruyi-shaped body and apron, see Sotheby's Hong Kong, 3 October 2018, lot 3602.Auction result comparison: Compare a related yellow jade vase and cover, 12.5 cm high, also with a Qianlong four-character reign mark, at Christie's Hong Kong in The Imperial Sale on 31 May 2010, lot 2121, sold for HKD 2,660,000. Compare a related 'autumn mallow' yellow jade baluster vase, 14.6 cm high, dated to the Qianlong period, at Christie's London in Fine Chinese Ceramics and Works of Art on 15 May 2007, lot 374, sold for GBP 52,800.乾隆款及年代罕見黃玉如意瓶中國，1736-1795年。瓶身扁平，長頸，象首啣環輔耳，如意形腹部，底足外撇並內凹。淺浮雕，唇沿處飾如意紋，頸部萬字元地上纏枝蓮紋，腹部中央飾蓮紋，邊沿處雲紋。柔和淡雅的的黃色的半透明玉料。底足內刻“乾隆年製”四字。 來源：巴黎一位紳士收藏。 品相：狀況極好，有輕微磨損，局部有小劃痕和輕微刻痕，底部光滑。 重量：182.5 克 尺寸：高10.6厘米清代硬木底座，可能為十八世紀。 在玉的不同成色中， 如白、青、碧、黃、黑等，黃玉被認為是最稀有且珍貴的。 早在1388年，《格古要論》中就有記載”黃玉如粟者為貴，謂之甘黃“ ，而煙熏黃是之後一等，見 Sir Percival David, Chinese Connoisseurship, 倫敦，1971年，第120頁。 不同的黃色色調微妙且難以區分。 楊伯達在《中國玉器全集》第六冊（河北，1991年）中對他們進行了區分：栗色黃玉尤為珍貴，如故宮收藏的仿古賞瓶，蟬紋間饕餮紋飾，第591頁，圖204；其他類別的黃色被稱為“玉米粒”，第588頁，圖190（一個梨形的古花瓶），“糖黃玉”，第 544頁，圖 4；“內部帶有淺青瓷微光”，第 598頁，圖235（太平有象）和“秋葵”，第600頁，圖 241（圓柱形蓋瓶）。 文獻比較：此拍品的如意形腹部極爲少見。相似形制可參考一件乾隆款及年代青釉蓋瓶，見香港蘇富比2018年10月3日 lot 3602。 拍賣結果比較：比較一件黃玉蓋瓶，高12.5 釐米，同樣有乾隆四字款，見香港佳士得The Imperial Sale 2010年5月31日 lot 2121, 售價HKD 2,660,000；比較一件乾隆時期黃玉秋葵賞瓶，高14.6 釐米，見倫敦佳士得 Fine Chinese Ceramics and Works of Art 2007年5月15日 lot 374, 售價GBP 52,800。

A CELADON JADE 'BOYS' WASHER, QING DYNASTYChina, 18th-19th century. Amusingly carved as a large open lotus leaf with a fish at one side being caught on a line by a crouching boy, another boy at the other end holding on to the plant stalk. The translucent stone of an even celadon tone with few cloudy white inclusions and grayish hues.Provenance: British private collection. Bonhams, 5 November 2009, lot 272, sold for GBP 3,600. German private collection, acquired from the above.Condition: Excellent condition with minor old wear and traces of use.Weight: 182.0 gDimensions: Length 15.5 cmAuction result comparison: Compare a related celadon jade washer, also with boys and lotus, at Sotheby's London in Chinese Art on 18 May 2018, lot 222, sold for GBP 12,500. 清代青玉雕童子戲蓮筆洗 中國，十八至十九世紀。青玉雕刻成一片巨大的荷葉，一側有一個蹲伏狀的童子釣到一條魚，另一端的是一個童子抓住荷葉莖。 青色調的半透明玉石，幾乎沒有白色絮狀物以及灰色調。 來源： 英國私人收藏。邦翰思2009年11月 5日 lot 272, 售價GBP 3,600. 德國私人收藏，購於上述收藏。 品相：品相極好，輕微磨損和使用痕跡。 重量：182.0 克 尺寸：長 15.5 厘米 拍賣結果比較：一件相近的青玉筆洗，同樣為童子戲蓮，倫敦蘇富比 Chinese Art 2018年5月18日 lot 222, 售價GBP 12,500。

A JADE 'CATFISH' WASHER, 17TH TO 18TH CENTURYChina. Of oval shape with slightly flaring sides supported on a short yet distinct foot, the interior finely carved in high relief with a catfish, the algae in its mouth forming a stylized wan symbol. The exterior with two slightly raised bands incised with diagonal lines. The finely polished, translucent stone is of a grayish-cream tone with dark-brown veins and inclusions.Provenance: The Ezekiel Collection, no. H/131 (old collector's label to base). Purchased by Victor Ezekiel on 13 December 1963. A handwritten and typed note by Victor Ezekiel, stating the collection no. H/131 and the purchase date of 13 December 1963 and describing the piece as 'A pale brownish green jade dish […] with a Catfish with food in its mouth, and stand. […] Probably Ming or earlier', accompanies this lot. The Ezekiel Collection was formed by Marcus Ezekiel (1854-1927) and his son Victor (1905-1976), two leading figures in the formative years of Chinese art collecting in London in the first part of the 20th century, and important early members of the Oriental Ceramic Society. In 1975 Rose Kerr, then a young associate curator at the Victoria and Albert Museum, came to David Ezekiel, Victor's son, to select loans for the prestigious Oriental Ceramic Society exhibition "Chinese Jade Throughout the Ages”. Seventeen pieces were selected, the present lot possibly among them, and David Ezekiel was able to take his ailing father, in a wheelchair, to see the exhibition.Condition: Very good condition with minor old wear and nibbling to the rim as well as a microscopic bruise to one end of the algae sprig. With a fine, unctuous feel overall.Weight: 65.4 gDimensions: Length 8.4 cmThe catfish (nian yu) provides a rebus suggesting 'year after year' while the word for fish in Chinese (yu) provides a homonym for 'abundance'. Fish is traditionally eaten on Chinese New Year and during the festival there is a phrase called 'nian nian you yu', which translates as 'every year you have abundance'.Catfish (silurus) eat algae. When depicted in Chinese jade, they are sometimes mistaken for monkfish (lophius), a predator which does not eat algae.Auction result comparison: Compare a related white jade washer with a catfish amid waves, dated 18th-19th century, at Sotheby's London in Fine Chinese Ceramics And Works Of Art on 5 November 2014, lot 286, sold for GBP 12,500, and another with two fish and two boys, dated 18th century, at Sotheby's Hong Kong in Important Chinese Works Of Art on 7 April 2015, lot 3744, sold for HKD 125,000, and a related pale celadon jade bowl with two catfish, dated to the 19th century, of larger size (13.4 cm wide), at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on 1 June 2011, lot 3848, sold for HKD 1,340,000. 十七至十八世紀鮎魚紋玉筆洗中國。橢圓形，口外敞，圈足極淺，筆洗内底部巧妙高浮雕鮎魚，魚嘴裡的叼的水藻成卍符號。筆洗外壁有兩條略微凸起的細帶，上面刻有對角線。玉料表面光滑，呈半透明狀，帶有深棕色的紋理和內沁。 來源：Ezekiel收藏，收藏編號H/131（見收藏標籤）。Victor Ezekiel於1963年12月13日購置。隨附一份收藏由Victor Ezekiel 購買時做的注釋的副本，他描述此拍品為“A pale brownish green jade dish […] with a Catfish with food in its mouth, and stand. […] Probably Ming or earlier “ （青綠色玉盤，鮎魚紋，明或更早）。Ezekiel收藏由Marcus Ezekiel (1854-1927) 和他的兒子 Victor (1905-1976) 創立，他們曾是20世紀上半葉倫敦的中國藝術收藏形成及穩定時期的兩位領軍人物，同時也是東方陶瓷學會早期重要成員。1975年，時任Victoria and Albert Museum美術館年輕副館長的Rose Kerr來找Victor的兒子David Ezekiel，為知名的東方陶瓷協會展覽 "中國歷代玉器 "挑選借展品。共有17件收藏品被選中，本拍品可能是其中之一，David Ezekiel還曾與患病且坐在輪椅上的父親去看展覽。 品相：狀況極好，有輕微的磨損，水藻的一端有輕微的損傷。 整體潤澤光滑。 重量：65.4 克 尺寸：長 8.4 厘米 拍賣結果比較：比較一件十八至十九世紀的鮎魚紋玉筆洗，見倫敦蘇富比Fine Chinese Ceramics And Works Of Art 2014年11月5 日 lot 286, 售價GBP 12,500；另一件十八世紀雙童雙魚紋筆洗，見香港蘇富比Important Chinese Works Of Art 2015年4月7日 lot 3744, 售價HKD 125,000；一件十九世紀青白玉雕雙魚碗，尺寸稍大 (寬13.4厘米), 見香港佳士得Important Chinese Ceramics and Works of Art 2011年6月1日 lot 3848, 售價HKD 1,340,000。

A YELLOW AND RUSSET JADE FIGURE OF A CHICKEN, EARLY QING DYNASTYChina, 17th-18th century. The perched bird with neatly incised wings, plumage, tail feathers, comb, and wattle, carrying a lingzhi sprig in its gently curved beak. The translucent stone of an even yellow tone with russet shadings and veins as well as cloudy white inclusions.Provenance: From an old British private collection. Condition: Excellent condition with minor wear and few minuscule nicks.Weight: 75.7 g Dimensions: Length 6 cmAuction result comparison: Compare a closely related yellow and russet jade lion, also dated to the early Qing dynasty and of a very similar even yellow tone, at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on 30 May 2018, lot 3137, sold for HKD 300,000. Compare also a related yellow jade mythical beast, dated 18th-19th century, at Christie's Hong Kong in Important Chinese Ceramics and Works of Art on 30 May 2012, lot 4297, sold for HKD 980,000. 清初黃玉帶皮巧雕母鷄中國，十七至十八世紀。玉雕母鷄的翅膀及其羽毛、尾羽等雕刻精細，微微彎曲的喙中叼著一根靈芝。整體顔色均勻，半透明玉料，帶有赤褐色陰影和内沁以及白色絮狀物。 來源：英國私人收藏。 品相：狀況極佳，輕微磨損和磕損。 重量：75.7 克 尺寸：長 6 厘米 拍賣結果比較：一件清初黃玉帶皮玉獅，見香港佳士得Important Chinese Ceramics and Works of Art 2018年5月30日 lot 3137, 售價HKD 300,000。 一件十八至十九世紀黃玉神獸，見香港佳士得 Important Chinese Ceramics and Works of Art 2012年5月30日 lot 4297, 售價HKD 980,000。

A BLUE AND WHITE 'DRAGON' VASE, KANGXI PERIODChina, 1662-1722. Sturdily yet elegantly potted, the slender ovoid body rising from a short foot with a concave base to a waisted neck with a lipped rim. Finely painted around the exterior in rich tones of cobalt blue with two large, ferocious dragons, each two-horned and five-clawed, sinuously writhing and surrounded by flames, and with neatly rendered scales. The foot and base left unglazed.Provenance: British market, by repute from an old English estate.Condition: Good condition with minor wear and firing irregularities, including dark spots and pitting. The lip with some glaze fritting and small glaze recesses.Weight: 935.9 gDimensions: Height 24.3 cmThe five-clawed dragon continued as an imperial symbol during the Qing dynasty, and its use was even more severely restricted than in the Ming. The rendition of the dragon on the present lot is characteristic of that in the Kangxi period, which is exemplified by a fierce and powerful deameanor giving an impression of authority and majesty, with finely detailed painting of the head and scales. This is a considerable development from the more freely drawn and often more simplified versions of the late Ming dynasty. The full-faced representation of the dragon already existed in Ming times, and became popular in the Qing, but it is from the Kangxi period onwards, as evident from the present lot, that the dragon was imbued with a greater sense of vitality and martial spirit.Literature comparison: A closely related vase, with a Kangxi mark and of the period, is illustrated in Elias, A Dealer's Hand: The Chinese Art World through the Eyes of Giuseppe Eskenazi, New York 2013, p. 345, fig. 423. Another closely related example is in the collection of the Shanghai Museum, exhibited in Sovereign Splendour: Imperial Porcelain From Shanghai at the Gemeentemuseum Den Haag, 2011, and illustrated by T.M. Eliëns (ed.), Keizerlijk porselein uit het Shanghai Museum, Zwolle/The Hague 2011. Compare also a vase from the Palace Museum in Beijing, illustrated in Kangxi Yongzheng Qianlong, Hong Kong 1989, p. 23, pl. 6 and another from the Wang Xing Lou Collection, illustrated in Imperial Perfection, The Palace Porcelain of Three Chinese Emperors, Hong Kong 2004, no. 1. For a pair of related vases with Chenghua marks, see Ming and Qing Porcelain from the Collection of the T. Y. Chao Family Foundation, Hong Kong Museum of Art, 1978, cat. no. 85, sold at Sotheby's London, 18 November 1986, lot 83.Auction result comparison: Compare a closely related vase, with a Kangxi mark and of the period, at Christie's Hong Kong in Imperial Chinese Ceramics from the Robert Chang Collection – Jade Shears and Shimmering Feathers on 28 November 2006, lot 1317, sold for HKD 22,520,000. Compare a closely related vase, marked only with a double circle and dated to the Kangxi period, at Bonhams Sydney in Important Asian Art on 22 May 2019, lot 30, sold for AUD 42,700 (approx. EUR 27,000). Note that the Bonhams vase has severe condition issues, including a damaged and repaired neck, and thus the auction result does not adequately reflect the value of the present lot.康熙時期青花龍紋瓶中國，1662-1722年。青花龍紋瓶，瓶口微撇，短頸，圓肩，肩以下漸收，圈足。瓶身青花繪兩條五爪立龍，張牙舞爪，龍身捲曲，威武兇猛，四周火焰圍繞。圈足內露胎。來源：英國古玩市場，據説來自英國私人收藏。 品相：狀況良好，有輕微磨損和燒製瑕疵，包括黑點和點蝕。 唇部有一些釉點和小釉凹槽。 重量：935.9 克 尺寸：高 24.3 釐米 五爪龍在清代是皇室的象徵，其使用的限制比明代還要嚴格。 本拍品的龍紋具有康熙時期的特點，氣勢兇猛，威風凜凜，頭部和鱗片刻畫細緻。 這是明朝後期更自由繪製且通常更簡化的版本一個很大的發展。龍的全臉形像在明代已經存在，在清代開始流行，但從康熙時期開始，按照此拍品的形制，龍被賦予了更大的生命力、戰鬥力和精神。 文獻比較：一個相近的康熙款及年代的青花龍紋瓶，見 Elias, A Dealer's Hand: The Chinese Art World through the Eyes of Giuseppe Eskenazi，紐約，2013年, 第345頁，圖423。另一件見2011年上海博物館於海牙市立美術館展覽：Sovereign Splendour: Imperial Porcelain From Shanghai；圖見T.M. Eliëns (ed.), Keizerlijk porselein uit het Shanghai Museum, 兹沃勒/海牙，2011年。比較一件北京故宮博物院藏品，見《故宮珍藏康雍乾瓷器圖錄》，香港，1989年，第23頁，圖6。 比較另一件《清代康雍乾官窯瓷器〈望星樓藏瓷〉》，香港2004年，編號1。一對成化款龍紋見Ming and Qing Porcelain from the Collection of the T. Y. Chao Family Foundation, 香港藝術館, 1978年，圖錄編號85, 售於倫敦蘇富比,1986年11月 18日。 拍賣結果比較：比較一件康熙款及年代的龍紋瓶，見香港佳士得Imperial Chinese Ceramics from the Robert Chang Collection – Jade Shears and Shimmering Feathers 2006年11月28日 lot 1317, 售價HKD 22,520,000；比較一件康熙時期雙圈款龍紋瓶，見悉尼邦翰思Important Asian Art 2019年5月 22日 lot 30, 售價AUD 42,700 (大約EUR 27,000)。請注意邦翰思的這件龍紋瓶品相有問題，有破損和修復，因此，拍賣結果並不能充分反映現拍品的價值。

A PALE CELADON JADE 'DRAGON AND PHOENIX' ORNAMENT, WESTERN ZHOUChina, c. 1100-771 BC. Of slightly tapering shape, carved on both sides with a phoenix perched on top of a coiling dragon, the contours and details rendered with double-line grooves. The translucent stone is of a pale celadon tone with patches of cream-white tone and dark veins.Provenance: From the collection of David Taylor, and thence by descent within the Taylor family. David Taylor (1876-1958) was a notable British businessman who lived in Belfast and owned various commercial buildings along with a substantial portfolio of stocks and shares. During his travels to China in the early 20th century, he acquired many jades, including the present lot. His grandfather, Sir David Taylor, was born in 1815 in Perth, Scotland, and moved to Belfast in 1842, serving as its Mayor in 1867 and for two consecutive terms in 1883 and 1884.Condition: Fine overall condition, commensurate with age. Few tiny nicks, distinct signs of weathering and erosion, with the surface showing a silky matt surface as a result of long-time burial. The stone with natural fissures. Microscopic remnants of ancient pigment.Weight: 34.3 gDimensions: Length 9.6 cmThe present ornament displays an elegant combination of two zoomorphic elements, depicting a phoenix perched on top of a coiling dragon, the contours rendered in double-line grooves, a style characteristic of the Western Zhou period.Literature comparison: A similar example depicting the same motif but of slightly different shape, is in the National Palace Museum Collection (acquisition no. gouyu 611), illustrated in Art in Quest of Heaven and Truth, Chinese Jades through the Ages, Taipei, 2012, pl. 5-4-6. Another example depicting similar motifs was excavated in Rujiazhuang, its line drawing illustrated in Teng Shu-p'ing, Collectors' Exhibition of Archaic Chinese Jades, National Palace Museum, Taipei, 1999, p. 35, pl. 30:5. A rectangular plaque depicting similar motifs is in the Palace Museum Collection, illustrated in Zhongguo yuqi quanji 2- Shang & Western Zhou, Shijiazhuang, 1993, pl. 242.Auction result comparison: Compare a near-identical ornament, also dated to the Western Zhou Dynasty, at Christie's Hong Kong, in Chinese Archaic Jades from the Yangdetang Collection on 29 November 2017, lot 2743, sold for HKD 2,375,000.西周青白玉龍鳳紋柄形器 中國，公元前1100-771 年。半透明青白玉質，帶有白色絮狀物和深色紋理。器作近梯形的片狀柄形器，厚薄不勻。器之二面均琢龍鳳紋，輪廓與細節以雙線槽呈現。 來源：David Taylor收藏，自此一直保存在Taylor家族中。David Taylor (1876-1958) 曾是一位著名的英國商人，住在貝爾法斯特，擁有各種商業建築以及大量股票和股份。二十世紀初，他到中國旅行時購買了許多玉器，包括現在的這件。 他的祖父戴維·泰勒爵士 1815 年出生於蘇格蘭Perth，1842 年移居Belfast，1867 年擔任市長，1883 年和 1884 年連任。 品相：整體狀況良好，與年齡相稱。有少量微小的刻痕、風化和明顯的侵蝕跡象。由於長期埋在地下，表面啞光，非常光滑。具有天然紋理的玉料，古時色素殘餘。 重量：34.3 克 尺寸：長9.6 厘米 拍賣結果比較：比較一件幾乎一模一樣的柄形器，同樣為西周時期，見香港佳士得 Chinese Archaic Jades from the Yangdetang Collection 2017年11月29日 lot 2743, 售價HKD 2,375,000。

A SUPERB PALE CELADON JADE 'MAGNOLIA' VASE, 18TH CENTURYChina. Finely carved as a tall magnolia blossom, the layered petals forming the sides of the vase, borne on an openworked gnarled stem bearing smaller blossoms and buds. The superbly polished, translucent stone is of an almost flawless celadon tone with only few milky inclusions and russet veins. Provenance: The Ezekiel Collection, no. K/32 (old collector's label to one side). Purchased by Victor Ezekiel on 29 November 1957. A copy of a typed and handwritten note by Victor Ezekiel, stating the collection no. K/32 and purchase date of 29 November 1957 and describing the piece as “A pale jade vase, carved as a floral spray with large and small flowers, 5in., Ch'ien Lung, with a stand and case”, accompanies this lot. The Ezekiel Collection was formed by Marcus Ezekiel (1854-1927) and his son Victor (1905-1976), two leading figures in the formative years of Chinese art collecting in London in the 20th century, and important early members of the Oriental Ceramic Society. In 1975 Rose Kerr, then a young associate curator at the Victoria and Albert Museum, came to David Ezekiel, Victor's son, to select loans for the prestigious Oriental Ceramic Society exhibition "Chinese Jade Throughout the Ages”. David was, like his father, generous with loans to the Society's exhibitions, particularly “The World in monochromes” in 2009 (with his grandfather's legendary blanc de chine magnolia cup gracing the back cover of the catalog) and “China Without Dragons” in 2016.Condition: Superb condition, commensurate with age. Minor wear, few microscopic nicks, the stone with natural fissures, some of which may have developed into microscopic hairline cracks over time.Weight: 207.5 g (excl. base)Dimensions: Height 11.8 cm (excl. base) and 14.5 cm (incl. base)With a finely carved, openworked, and fitted hardwood base supported on four ruyi-form feet, dating to the Qing dynasty. (2)The white magnolia, or yulan in Chinese, is an emblem of purity and a pictorial pun to represent the Chinese word for jade, yu. Literature comparison: Compare a related white jade cup in the form of a magnolia blossom in the Royal Ontario Museum, Toronto, illustrated in The T.T. Tsui Galleries of Chinese Art, Hong Kong, 1996, cat. no. 115.Auction result comparison: Compare a closely related pale celadon jade (described as white jade) vase in the form of a magnolia flower, also dated to the 18th century, at Sotheby's New York in The Concordia House Collection: Fine Chinese Jades And Important Works Of Art From A Midwestern Family on 19 March 2007, lot 36, sold for USD 102,000.十八世紀青白玉雕玉蘭花插中國。花插主體為一朵初放的玉蘭花，花瓣層疊，富有層次感，花口做花插，玉蘭花四周雕有幾朵大小不一的花蕾花苞。底部透雕成的枝杈盤結，整體色澤由底部的青向上漸次變白，色澤瑩潤清新。花插整體造型惟妙惟肖，寓意“玉樹臨風”。來源：Ezekiel 收藏，編號 K/32 (花插一面可見標籤 )。Victor Ezekiel 購於1957年11月29日。隨附一份Victor Ezekiel 打字並手寫注釋的檔副本，上面可見他的購買日期和收藏編號，並將此器描述爲 “青白玉花插，雕刻成花狀及大小不一的花蕾，5英寸，乾隆，帶底座和盒子。Ezekiel 收藏由Marcus Ezekiel (1854-1927) 和他的兒子 Victor (1905-1976) 創立，他們曾是20世紀上半葉倫敦的中國藝術收藏形成及穩定時期的兩位領軍人物，同時也是東方陶瓷學會早期重要成員。1975年，時任Victoria and Albert Museum美術館年輕副館長的Rose Kerr來找Victor的兒子David Ezekiel，為知名的東方陶瓷協會展覽 "中國歷代玉器 "挑選借展品。David和他的父親一樣，慷慨地為協會的展覽提供資助，特別是 2009 年的“The World in monochromes”（目錄封底是他祖父的傳奇白玉蘭杯）和 2016 年的“China Without Dragons” 。品相：狀況極佳，與其年齡相稱。 輕微磨損，輕微小刻痕。有天然裂縫的玉料，隨著時間的推移，其中一些可能已經發展成微小的髮絲線裂縫。重量：207.5 克 (不含底座)尺寸：高 11.8 釐米 (不含底座)，總14.5 釐米 清代透雕硬木四足底座。 (2)白玉蘭，是純潔的象徵，與玉正好相對應。 文獻比較：一件相似的白玉雕玉蘭杯，見多倫多Royal Ontario Museum, The T.T. Tsui Galleries of Chinese Art, 香港，1996, 目錄圖片號 115。拍賣結果比較：比較一件相似的青白玉 (描述爲白玉) 玉蘭花玉瓶，同樣為十八世紀，見紐約蘇富比The Concordia House Collection: Fine Chinese Jades And Important Works Of Art From A Midwestern Family 2007年3月19日 lot 36, 售價USD 102,000。

A SUPERBLY CARVED LIMESTONE FIGURE OF A LION, TANG DYNASTYChina, 618-907. Naturalistically carved, the emaciated beast seated on its taut haunches atop a rectangular base, with its head turned to one side framed by the finely incised curled mane. Its ferocious expression is detailed with deeply carved bulging eyes, heavy brows, and the mouth open in a roar. The stone is of a brownish-gray tone. The base with an oval aperture in the center.Provenance: Sotheby's New York, 3 June 1987, sold for USD 26,400 (approx. USD 64,792 today after inflation). An English private collection, acquired from the above. Christie's London, 5 November 2013, lot 310, sold for GBP 52,500 (approx. GBP 61,529 today after inflation). The property of a Lady, acquired from the above.Condition: Superb condition, commensurate with age. Small chips, minor losses, minuscule nicks, light scratches, old wear, ancient age cracks. Traces of erosion. Fine, naturally grown patina.Weight: 3,272 gDimensions: Height 21.5 cm, Width 16.7 cmWith a silk box and cover. (2)The lion is well represented in Buddhist art of the Tang dynasty. Its roar was said to represent the dissemination of the Buddhist scriptures. In their role as guardian figures, lions can be found not only lining spirit roads which lead to imperial tombs, but also in pairs in tombs, such as the pair of small marble lions found guarding the front room of the underground hoard of Buddhist relics at the Famen Temple. See Famen Temple, Shanxi, 1990, pp. 164-167. This figure is stylistically similar to other stone lions of Tang date that are also seated on a plinth, some with head turned, some with mouth open.Literature comparison: Compare the brown-stained white marble lion of related size illustrated by M. Sullivan, Chinese Ceramics, Bronzes and Jades in the Collection of Sir Alan and Lady Barlow, London, 1963, pl. 14 (no. S36). Compare with a similarly modeled lion, illustrated by Osvald Siren in Chinese Sculpture From the Fifth to the Fourteenth Century, Sweden, 1998, p.35, pl.435 D.Auction result comparison: Compare a closely related puddingstone figure of a lion, 14.3 cm high, also dated to the Tang dynasty, at Christie's New York in Lacquer, Jade, Bronze, Ink: The Irving Collection Day Sale on 21 March 2019, lot 1182, sold for USD 52,500. Compare a related stone figure of a lion, 16.6 cm high, also dated to the Tang dynasty, at Christie's New York in Sacred and Imperial: The James and Marilynn Alsdorf Collection Part II on 24 September 2020, lot 910, sold for USD 32,500. Compare a related marble figure of a lion, 51.8 cm high, also dated to the Tang dynasty, at Christie's New York in The Collection of Robert Hatfield Ellsworth Part I on 17 March 2015, lot 16, sold for USD 317,000.唐代石雕獅子 中國，618-907年。石獅蹲姿，前腿直立支撐，眼窩深陷，張口露出獠牙，口型巨大，獵毛反捲向側後上方聳立，雙耳側豎，轉頭怒視其左側。獅兩後腿左右分立，四趾緊抓地面，蓄勢待發。雕刻線條清晰流暢，動態十足，爆發之力蘊於其身。整體石雕呈現褐灰色調。底座中間有一個橢圓形的孔洞。來源：紐約蘇富比 1987年6月 3日，售價USD 26,400 (相當於如今 USD 64,792 )；英國私人收藏，購於上述拍賣；見倫敦佳士得 2013年11月5日 lot 310, 售價GBP 52,500 (相當於如今GBP 61,529)；一位女士的收藏，購於上述拍賣。 品相：狀態極佳，與年齡相稱。小碎屑、輕微損失、微小劃痕、舊時磨損與裂縫，有侵蝕的痕跡。自然生長的包漿非常細膩。重量：3,272克 尺寸：高21.5厘米，寬16.7厘米 絲錦蓋盒。(2) 獅子在唐代佛教藝術中得到了很好的體現，在佛教的許多經論中，都用它來比喻佛陀的無畏與偉大，它的吼聲代表著佛經的傳播。 作為守護者，獅子不僅出現在通往皇陵的靈道上，而且在墓葬中也成對出現，例如在法門寺地宮前守衛的一對漢白玉獅子。 參見《山西法門寺》，1990年，第 164-167 頁。此獅造型與其他唐朝石獅類似，也坐於台座上，有的轉頭，有的張開嘴。 文獻比較：比較一件漢白玉獅見M. Sullivan, Chinese Ceramics, Bronzes and Jades in the Collection of Sir Alan and Lady Barlow, London, 1963, pl. 14 (no. S36)；比較一件相似的獅子，見Osvald Siren，Chinese Sculpture From the Fifth to the Fourteenth Century, Sweden, 1998, p.35, pl.435 D。 拍賣結果比較：比較一件相近的唐代布丁石石獅，高14.3 厘米，見紐約佳士得Lacquer, Jade, Bronze, Ink: The Irving Collection Day Sale 2019年3月21日 lot 118，售價USD 52,500。比較一件相近的石獅，高16.6 厘米，同樣為唐代， 見紐約佳士得Sacred and Imperial: The James and Marilynn Alsdorf Collection Part II 2020年9月24日 lot 910, 售價USD 32,500。比較一件唐代大理石獅，高51.8 厘米，見紐約佳士得 The Collection of Robert Hatfield Ellsworth Part I 2015年3月17日 lot 16, 售價USD 317,000。

A WHITE JADE 'ARCHAISTIC' RING BOX AND COVER, 18TH CENTURYChina. Of convex ring shape and finely carved in relief with taotie masks and stylized bats using scroll and ruyi designs between raised borders. The translucent stone is of a white tone with cloudy inclusions and few black veins. Fine manually applied surface polish.Provenance: From a private collection in Texas, USA.Condition: Very good condition with minor wear and nibbling to edges. The stone with microscopic natural fissures, some of which may have developed into small hairline cracks over time.Weight: 35.8 gDimensions: Diameter 4.5 cmAuction result comparison: Compare a white jade box and cover, of closely related form but larger size (9.2 cm diameter), meant to hold a bangle instead of a ring, and lacking the archaistic decoration, at Christie's New York in Fine Chinese Ceramics and Works of Art on 19 September 2014, lot 779, sold for USD 27,500. 十八世紀白玉仿古龍紋蓋盒中國。玉環式蓋盒，精美浮雕饕餮紋和蝙蝠紋，中央邊沿施如意紋。半透明的白色玉料，有些微内沁和黑色紋理。精細的手工表面拋光。 來源：美國德克薩斯私人收藏。 品相：狀況極好，有輕微磨損。帶有微小天然裂紋的玉料，隨著時間的推移，其中一些裂縫可能會發展成細小的裂縫。重量：35.8 克 尺寸：直徑4.5 厘米 拍賣結果比較：比較一件白玉蓋盒，相近形狀但尺寸稍大 (直徑9.2 厘米)，見紐約佳士得Fine Chinese Ceramics and Works of Art 2014年9月19日 lot 779, 售價USD 27,500。

A WHITE AND RUSSET JADE 'DEER AND LINGZHI' GROUP, 18TH CENTURYChina. Finely carved as a recumbent deer with long, gently curved ears, the antlers terminating in lingzhi heads, a sprig of lingzhi in the deer's mouth, a peach resting on its back, and a fawn nestled up to its mother's side. The translucent stone is of a pure white tone with few yet distinct russet veins and small areas of russet skin.Provenance: From the collection of Robert Youngman and thence by descent. Robert P. Youngman (1940-2018) was an investment advisor, philanthropist, and a great enthusiast of Asian art. In 1976, he founded the investment management firm Granite State Corporation, now known as Griffin Asset Management. Youngman joined the Board of Trustees of Middlebury College in 1980 and served as Chairman of its Board for several years. Besides forming an impressive collection himself, he established endowed funds at his alma mater to support the acquisition and curation of Asian art, and authored two books, one on Chinese porcelain and the other on Chinese jades.Condition: Excellent condition with minor old wear, the stone with natural fissures, some of which may have developed into small hairline cracks over time. Good overall surface feel with a decent, natural luster.Weight: 96.8 g Dimensions: Length 8.2 cmWith a padded silk box and cover. (2)Auction result comparison: Compare a closely related white jade group, also dated to the 18th century and of identical size, at Sotheby's Hong Kong in Important Chinese Works of Art on 7 April 2015, lot 3682, sold for HKD 562,500. 十八世紀白玉鹿啣靈芝 中國。白玉巧雕，結合多種雕刻技法，臥鹿口銜靈芝，靈芝纏卷與鹿角相似，打磨精細。子母鹿形象鮮活逼真，線條優美。整體質地厚潤，雕琢細膩且寓意祥瑞。白玉局部留皮。 來源：Robert Youngman 私人收藏，保存至今。Robert P. Youngman (1940-2018) 是一位投資顧問、慈善家和亞洲藝術愛好者。1976 年，他創立了投資管理公司 Granite State Corporation，現為 Griffin Asset Management。Youngman先生 於 1980 年加入Middlebury College董事會，並擔任董事會主席數年。除了自己的收藏外，他還在母校設立了捐贈基金，支持亞洲藝術的收購和策展，並著有兩本書，一本關於中國瓷器，另一本關於中國玉器。 品相：狀況極佳，有輕微舊時磨損，玉料有天然紋理，隨著時間的推移，其中一些可能會發展成細小的裂縫。整體表面感覺良好，光澤自然細膩。 重量：96.8 克 尺寸：長 8.2 厘米 絲面蓋盒。(2) 拍賣結果比較：比較一件相近的十八世紀白玉擺件，相同尺寸，見香港蘇富比Important Chinese Works of Art 2015年4月7日 lot 3682, 售價HKD 562,500。

A YELLOW AND RUSSET JADE 'ELEPHANT AND BOYS' GROUP, 18TH CENTURYChina. Finely carved as an elephant with its head turned to one side, dressed with a tasseled saddlecloth draped across its back, supporting two boys, one holding up a flask. Two further boys beside the elephant are carrying a large and heavy baluster vase. The superbly polished, translucent stone is of a yellow tone with a slightly greenish tinge and distinct russet veins, which are more prominent to the back and rather faint to the front, as well as cloudy inclusions.Provenance: British trade, by repute from an English private collection.Condition: Excellent condition with minor wear and few microscopic nicks. The stone with natural fissures, some of which have developed into small hairline cracks over time.Weight: 872.8 g Dimensions: Length 16 cmThis carving is full of auspicious imagery, the motif of boys riding or climbing on an elephant representing the wish for good fortune, as the phrase 'ride an elephant' is close in pronunciation to 'good fortune' (jixiang).Auction result comparison: Compare a closely related pale celadon and russet jade carving, also dated to the 18th century, at Christie's Hong Kong in Important Chinese Jades from the Personal Collection of Alan and Simone Hartman Part II on 27 November 2007, lot 1562, sold for HKD 1,927,500 (note that this lot was sold 14 years ago and that therefore the sale result may not adequately reflect the current value of this lot). 十八世紀黃玉《太平有象》中國。玉器以整塊籽玉雕琢而成，玉質溫潤飽滿。象作回首狀，厚實逼真；象背上兩個童子，其中一個手舉玉瓶；象尾處兩個童子，一起舉著一個碩大的玉瓶。四個童子表情逗趣天真；象背披氈毯，毯上飾江崖蝙蝠紋飾。雕工淺深有致。大象敦厚剛健，象徵智慧，四個童子活潑可愛，與大象之沉實穩重成鮮明對比。淺雕紋飾，更顯玉之細潤，場景溫馨可人。來源：英國古玩市場，據説來自英國私人收藏。品相：狀況極佳，磨損輕微，細微劃痕。具有天然裂紋的玉料，隨著時間的推移，其中一些已經發展成細小的裂紋。重量：872.8 克尺寸：長16 釐米此主題取材於民間故事，象為瑞獸，代表溫馴祥和，象背馱負一寶瓶寓意太平，象徵盛世安寧與和平，也寓意連年豐收。拍賣結果比較：比較一件十八世紀青白留皮玉造像，見香港佳士得Important Chinese Jades from the Personal Collection of Alan and Simone Hartman Part II 2007年11月27日 lot 1562, 售價HKD 1,927,500 (請注意，該拍品於 14 年前售出，因此銷售結果可能無法充分反映該拍品的當前價值)。

A CELADON JADE 'CHILONG' MOONFLASK AND COVER, BIANHU, 18TH CENTURYChina. The flattened globular body rising from a short spreading foot to a short neck flanked by a pair of scroll handles, carved in high relief to the front and back with chilong and bats amidst ruyi cloud scrolls, the domed cover surmounted by an oval finial. The translucent stone is of a pale celadon tone with white veins and clouds as well as few gray and russet inclusions.Provenance: An old German private collection, acquired in China circa 1890-1922. Sotheby's Paris, 13 June 2012, lot 98, sold for EUR 51,150 (c. EUR 62,100 in today's currency after inflation). A private collection, acquired from the above. With an old Chinese paper inventory label, 'no. 295'.Condition: Very good condition with minor old wear and tiny nicks here and there. The stone with natural fissures, some of which have developed into hairline cracks over time. The interior of the cover with a few more recent hairlines, not visible from outside.Weight: 1,054 gDimensions: Height 19.2 cm十八世紀青玉螭龍紋抱月瓶中國。平口，頸部卷葉紋，扁圓形腹，圈足外撇，曲線飽滿。腹部雙面雕刻螭龍、蝙蝠與如意紋。整體造型美觀，包漿瑩潤，雕刻技法嫻熟，細節生動。足見雕刻者的功力。半透明的玉石呈淡青色，帶有白色絮狀物以及少量的灰色和赤褐色內沁。 來源：德國私人老收藏，約在1890-1922年間購於中國；巴黎蘇富比2012年6月13日 lot 98, 售價EUR 51,150 (相當於現在的 EUR 62,100)；私人收藏，購於上述拍賣。有一個中國紙標籤“no. 295”。 品相：狀況極好，有輕微的磨損和各處的小劃痕。有天然紋理的玉料，隨著時間的推移，其中一些已經發展成細縫。蓋子内部有幾條細紋，從外面看不到。 重量：1,054 克 尺寸：高19.2 厘米

A WHITE JADE FIGURE OF A BUDDHIST LION, QING DYNASTYChina, 1644-1912. Well carved in the form of a recumbent lion, with alert eyes and flaring nostrils, its head sharply turned to the right, the body articulated by the raised spine extending to the bushy tail curling around its hind leg. The translucent stone of an even white tone with only few cloudy inclusions.Provenance: From the collection of Robert Youngman and thence by descent. Robert P. Youngman (1940-2018) was an investment advisor, philanthropist, and a great enthusiast of Asian art. In 1976, he founded the investment management firm Granite State Corporation, now known as Griffin Asset Management. Youngman joined the Board of Trustees of Middlebury College in 1980 and served as Chairman of its Board for several years. Besides forming an impressive collection himself, he established endowed funds at his alma mater to support the acquisition and curation of Asian art, and authored two books, one on Chinese porcelain and the other on Chinese jades.Condition: Excellent condition with minor old wear. Good, manually applied surface polish.Weight: 75.3 g Dimensions: Length 6 cmAuction result comparison: Compare a closely related white jade lion, dated to the 17th century, at Sotheby's Hong Kong in Fine Chinese Ceramics & Works of Art on 7 October 2010, lot 2741, sold for HKD 150,000.清代白玉太獅擺件中國，1644-1912年。白玉飽滿圓潤，太獅呈臥姿，雙眉大眼，炯炯有神，寬鼻張口，頭往右轉，右後腿似乎在撓癢，活靈活現。頭部鬃毛呈渦紋狀。細微内沁。來源：Robert Youngman 私人收藏，保存至今。Robert P. Youngman (1940-2018) 是一位投資顧問、慈善家和亞洲藝術愛好者。1976 年，他創立了投資管理公司 Granite State Corporation，現為 Griffin Asset Management。Youngman先生 於 1980 年加入Middlebury College董事會，並擔任董事會主席數年。除了自己的收藏外，他還在母校設立了捐贈基金，支持亞洲藝術的收購和策展，並著有兩本書，一本關於中國瓷器，另一本關於中國玉器。 品相：狀況良好，有輕微舊時磨損。表面抛光良好。 重量：75.3 克 尺寸：長 6 厘米 拍賣結果比較：比較一件相近的十七世紀白玉太獅，見香港蘇富比Fine Chinese Ceramics & Works of Art 2010年10月 7日 lot 2741, 售價HKD 150,000。

A WHITE JADE CARVING OF AN APSARA, QING DYNASTY OR EARLIERChina, 18th-19th century or earlier. Carved and pierced with the angelic figure floating elegantly in the wind whilst wearing long flowing robes, celestial scarf, and headdress, her hands clasped together grasping a tablet, all above lingzhi-shaped swirling clouds. The translucent stone is of an even white tone.Provenance: From a private collector in England who has been collecting Chinese jades for over 20 years.Condition: Very good condition with minor wear and few minuscule nicks.Weight: 116 g Dimensions: Length 9 cm, Height 6.5 cmApsaras are often depicted as flying figures in the mural paintings and sculptures of Buddhist cave sites in China such as in the Mogao and Yulin Caves, and the Yungang and Longmen Grottoes, and may also be depicted as dancers or musicians. They are referred to as feitian in Chinese. A female spirit of the clouds in Buddhist mythology, apsaras were beautiful heavenly attendants to deities. The billowing clouds and flowing scarf of this figure attest to her celestial nature and endow this carving with a femininity and gracefulness befitting her role.Literature comparison: Three jade asparas in the collection of the Palace Museum, Beijing, dated to the Tang dynasty, are illustrated in The Complete Collection of Treasures from the Palace Museum. Jadeware (II), Hong Kong, 1995, cat. nos. 17-19. For a Northern Song example, see Forsyth and McElney, Jades from China, The Museum of East Asian Art, Bath, 1994, p. 314, no. 223.Auction result comparison: Compare a related white jade carving of an apsara, 8.5 cm long, dated Ming dynasty or earlier, at Christie's London in The C. Philip Cardeiro Collection of Chinese Art on 13 May 2014, lot 17, sold for GBP 37,500. 清代或更早白玉雕飛天女神 中國，十八至十九世紀或更早。鏤雕飛天身姿飄逸，身著長袍，頭戴飄揚飛巾，雙手捧著一個盤子，飛在如意祥雲之上。 半透明白玉色澤均勻，細膩晶瑩。來源：英國私人收藏，此收藏家有收藏玉石經驗超過20年。 品相：狀況極好，少量磨損與細小刻痕。 重量：116克 尺寸：長9厘米，高6.5厘米 拍賣結果比較：比較一件白玉雕飛天女神，長8.5 厘米，明代或更早，見倫敦佳士得 The C. Philip Cardeiro Collection of Chinese Art 2014年5月13日 lot 17, 售價GBP 37,500。

A RARE AND MASSIVE LIMESTONE 'PIG-DRAGON' CARVING, ZHULONG, HONGSHAN CULTUREChina, Neolithic period, c. 4000-3000 BC. Of generous proportions, the iconic coiled body further accentuated with a superbly rendered wrinkled snout, the neck drilled for suspension. Provenance: Collection of Oliver Reginald Hoare (1945-2018). A prominent English art figure, described as arguably the most influential dealer in the Islamic world, Hoare joined Christie's London in 1967 where he was initially overseeing Russian art. After spotting some carpets left lying in a corridor and recognizing them as Persian, Hoare used them as the basis of a successful auction, which led to the launch of the Islamic Art Department, the first of its kind in a major auction house. He left Christie's in 1975 and opened Ahuan, a gallery in Pimlico, in partnership with David Sulzberger. In 1994, he negotiated the return of a Persian 16th-century manuscript to Iran, the Houghton Shahnameh (the most important illustrated manuscript ever created in Persia), in exchange for Willem de Kooning's Woman III which had been in Iran since the Islamic revolution. In the 1990s, he was famously liaised with Diana, Princess of Wales. Published: Oliver Hoare, Every Object Tells a Story, 2017, London, page 26, number 14. Condition: Good condition, presenting well, commensurate with age. Several hairline cracks and structural fissures. Distinct areas of erosion and general surface alteration. Small bruises. Fine, naturally grown patina, with an unctuous worn feel overall, due to extensive handling over decades, or even centuries, indicating the present zhulong was excavated long time ago. Weight: 3,087 g (excl. stand) Dimensions: Height 20 cm (excl. stand) With an associated metal stand. (2) Notable for its large size, this carving depicts a zhulong, or pig-dragon, a modern term that describes the animal's upturned snout, prominent bulging eyes and coiled body. Considered to represent the prototype of depictions of mythological dragons in later Chinese art, zhulong are some of the most iconic creations of the enigmatic Hongshan culture, and evidence the existence of a complex system of belief in supernatural forces. Auction result comparison: Compare a related calcified yellow jade zhulong, 10 cm high, also attributed to the Hongshan culture, at Sotheby's Hong Kong in Monochrome II on 9 October 2020, lot 21, sold for HKD 2,520,000. 紅山文化罕見石灰岩雕豬龍中國，新石器時代，公元前約 4000-3000 年。通體呈牙白色，肥首大耳，嘴部平齊，三角形切口不切透內圓，身體首尾相連，成團狀捲曲，背部對鑽圓孔，面部以陰刻線表現眼圈、皺紋。來源：Oliver Reginald Hoare (1945-2018) 收藏。Hoare是一位著名的英國藝術人物，可以說是伊斯蘭世界最有影響力的經銷商，他於 1967 年加入倫敦佳士得，最初負責監督俄羅斯藝術。 他發現一些放在走廊上的地毯是波斯地毯後，Hoare將它們進行了成功的拍賣，以此爲基礎成立了伊斯蘭藝術部，這是大型拍賣行中的此方面第一個部門。他於 1975 年離開佳士得，與 David Sulzberger 合作在 Pimlico 開設了 Ahuan 藝廊。1994 年，他通過談判將一份十六世紀的波斯手稿《Houghton Shahnameh》（波斯有史以來最重要的插圖手稿）歸還給伊朗，以換取自伊斯蘭革命以來一直在伊朗的Willem de Kooning《女人III》。 1990 年代，他與威爾士王妃戴安娜有過交往。出版：Oliver Hoare, Every Object Tells a Story, 2015, 倫敦, 頁26, 編號14。 品相：狀況及保存良好，與年齡相稱。幾處細小裂縫和結構裂縫。不同的侵蝕區域和一般的表面變化。微小擦傷。細膩自然的包漿，表面光滑潤澤，這説明它是很久以前出土的。 重量：3,087 克 (不含底座) 尺寸：高20 厘米 (不含底座) 配置金屬底座 (2) 拍賣結果比較：比較一件鈣化的黃玉豬龍，高10 厘米，紅山文化，見香港蘇富比Monochrome II 2020年10月 9日 lot 21, 售價HKD 2,520,000。

A WHITE JADE 'CRAB' SEAL PASTE BOX AND COVER, 18TH CENTURYChina. The box finely carved as a lotus leaf with neatly incised veins, surmounted by an intricately carved and open worked cover in the form of a crab, the interior of which is also incised with veins of a lotus leaf. The superbly polished and highly translucent stone is of an even white tone.Provenance: Charlotte Horstmann, Hong Kong, 18 November 1959. Swiss private collection, acquired from the above. Ben Janssens Oriental Art, London, 2011, offered for GBP 12,000 (according to price list). British private collection, acquired from the above. A copy of the original invoice from Charlotte Horstmann, dated 18 November 1959, accompanies this lot. Charlotte Horstmann was a legendary art dealer in Hong Kong, widely recognized as one of the three doyennes of the Asian art world, together with Helen Ling in Singapore and Connie Mangskau in Bangkok. She was born in Berlin to missionaries who moved with their daughter to Beijing shortly after her birth. In the 1920s and 1930s, she worked as an interpreter, meeting important art collectors and academics such as John D. Rockefeller Jr. and Lawrence Sickman. She became an antiques dealer in Beijing and in 1950 moved to Bangkok, taking her now-famous collection of Ming furniture with her. In 1955, she moved to Hong Kong and opened a small shop on Ice House Road. Over time, this shop became a destination for stars, politicians, business magnates, and high-ranking government officials from around the world.Published: The Scholar's Desk, Ben Janssens Oriental Art, London, 2011, no. 46, pl. 96.Condition: Good condition with old wear, tiny nicks to edges, minuscule cracks and losses.Weight: 44 g Dimensions: Length 6.5 cm, Height 5.5 cmAn old name in Chinese for crab was jia, a reference to the creature's shell, and the word for lotus is lian. Together, the crab and lotus formed the rebus lian ke jia di, meaning 'first place in consecutive examinations'. The lotus is also called hehua, and the common name for crab, xie, also combines to form the phrase hexia which means 'harmony'.Auction result comparison: Compare a related white and russet jade figure of a crab, 7.7 cm long, dated to the 19th century, at Christie's Hong Kong in Chinese Art on 30 November 2017, lot 384, sold for HKD 106,250.十八世紀白玉雕刻蟹形印泥蓋盒中國。盒子上雕刻精美的荷葉紋，紋路清晰，蓋上鏤雕螃蟹，盒內亦刻荷葉紋。白玉表面光滑，半透明，色澤均勻潤澤。 來源：香港Charlotte Horstmann藝廊，1959年11月18日；瑞士私人收藏，購於上述收藏； 倫敦Ben Janssens Oriental Art藝廊，2011年，開價 GBP 12,000 (根據價格表)；英國私人收藏，購於上述藝廊。隨附一份Charlotte Horstmann的原始發票複印件，注明為1959年11月18日。Charlotte Horstmann 是香港傳奇的藝術品經銷商，與新加坡的 Helen Ling 和曼谷的 Connie Mangskau 一起被公認為亞洲藝術界的三大元老之一。 她出生於柏林，她的父親是傳教士，在她出生後不久就帶著女兒搬到了北京。在 1920 年代和 1930 年代，她擔任口譯員，曾見過重要的藝術收藏家和學者，如小John D. Rockefeller和Lawrence Sickman。她在北京成為一名古董商，並於 1950 年搬到曼谷，帶著她著名的明代傢俱收藏。 1955年移居香港，在雪厰街開了一家小店，慢慢成爲來自世界各地的明星、政治家、商業巨頭和高級政府官員的必去之地。 出版：The Scholar's Desk, Ben Janssens Oriental Art, London, 2011, no. 46, pl. 96。 品相：狀況良好，有舊磨損，邊緣有微小的刻痕，有微小的裂縫和缺損。 重量：44 克 尺寸：長6.5厘米，寬5.5厘米 拍賣結果比較：比較一件十九世紀白玉留皮雕蟹，長7.7 厘米，見香港佳士得Chinese Art 2017年11月30日 lot 384, 售價HKD 106,250。

A SPINACH-GREEN JADE 'SCHOLARS' BRUSHPOT, BITONG, QIANLONG PERIODChina, 1736-1795. The massive and heavy vessel is of cylindrical form raised on five ogee-bracket feet, the exterior superbly carved and undercut with scholars and boy attendants engaged in various leisurely pursuits in a mountainous landscape with pine, wutong, palm trees, and a pavilion. The translucent stone of a deep green tone with black speckles and few cloudy white inclusions.Provenance: From a French private collection. Condition: Excellent condition with only minor wear and possibly small nicks or losses here and there, which may have smoothened over time.Weight: 2,140 gDimensions: Height 15.5 cm, Diameter 13 cmWith an associated silk box and cover. (2)Impressive for its large size, heavy weight and skillfully carved high relief scene that unravels like a scroll painting with each turn of the vessel, this brush pot is a fine example of the level of expertise achieved in this medium during the Qianlong period. It is carefully composed to depict an animated group of scholars and their assistants engaged in various activities in a lofty landscape. An ethereal and distant world is skillfully captured through the undercutting of the outlines of the rocks and figures, which create dramatic and mysterious contrasts.The decoration of this piece follows in the tradition of Chinese painting with the surface of the vessel treated as a horizontal scroll. With each turn of the pot a scene in the narrative appears, thus making it an object that can be appreciated from different angles. Brushpots were essential tools for the literati and grew in popularity under the Qianlong emperor, who considered himself a great classical scholar, poet, calligrapher and art connoisseur. Apart from his scholarly interests, Qianlong also saw himself as the religious leader of the empire. The subject matter of the retired scholar was one he particularly favored, revealing his desire to combine his personal and private inspirations with his public image.Literature comparison: A spinach green jade brushpot carved with a similar motif was included in the Oriental Ceramic Society exhibition Chinese Jade Throughout the Ages, Victoria and Albert Museum, London, 1975, cat. no. 415, together with one, from the collections of E.L. Paget, Sir J. Buchanan-Jardine, Sir Bernard Eckstein and Sir Jonathan Woolf, cat. no. 413, later included in the exhibition of The Woolf Collection of Chinese Jade, Sotheby's, London, 2013, cat. no. 45. Also compare another similar brushpot in the Palace Museum, Beijing, illustrated op. cit., 1995, pl. 170.Auction result comparison: Compare a near-identical brushpot, also carved and undercut with a continuous scholarly scene, at Sotheby's New York, in Fine Chinese Ceramics and Works of Art, on 18 March 2008, lot 16, sold for USD 433,000. Note the remarkable similarity of the pavilion and palm trees found on both the present lot and this example.乾隆時期碧玉文人場景筆筒中國，1736-1795年。筆筒呈圓柱體，五足，外壁雕刻文人場景。文士們似在飲酒做對問禪，四周松、梧桐、芭蕉、亭台圍繞。深綠色的半透明玉料，帶有黑色斑點和少量白色絮狀内沁。 來源：法國私人收藏。 品相：狀況極好，只有輕微磨損，小劃痕或缺損，隨著時間的推移已經變得平滑。 重量：2,140 克 尺寸：高15.5 厘米, Diameter 13 厘米 配置絲盒。 (2) 此筆筒體積大、重量重，雕工精湛，宛如一幅卷軸，令人贊嘆不已，這是乾隆時期在玉雕方面傑出水平的典範。筆筒外壁描繪了一群充滿活力的學者和他們的童僕，在山水中游玩。通過對岩石和人物輪廓的雕琢，巧妙地捕捉到一個空靈的世界，形成戲劇性和神秘性的對比。這件作品的裝飾藉鑒了中國畫的傳統，將器皿的表面處理成水平捲軸。每每轉動一圈，就會改變場景，從而可以從不同角度欣賞它。筆筒是文人墨客的必備工具，在乾隆皇帝的影響下越來越受歡迎，乾隆自稱是一位偉大的古典學者、詩人、書法家和藝術鑑賞家。除了他的學術興趣，乾隆還認為自己是宗教領袖。這類隱者文士的題材尤其爲他所喜歡，體現了他希望將個人靈感與公眾形象結合起來的願望。文獻比較：一件碧玉筆筒，相似紋樣，可見於Oriental Ceramic Society exhibition Chinese Jade Throughout the Ages, 倫敦Victoria and Albert Museum博物館, 1975, 目錄415, 還有分別來自E.L. Paget、J. Buchanan-Jardine爵士、Bernard Eckstein 爵士與Jonathan Woolf爵士收藏，目錄 413, 之後還參展於倫敦蘇富比的The Woolf Collection of Chinese Jade的2013年的展覽, 目錄號 45. 還有另一件見北京故宮博物院 1995, 圖170。 拍賣結果比較：一件幾乎一模一樣的文人場景筆筒，見紐約蘇富比Fine Chinese Ceramics and Works of Art 2008年3月18日 lot 16, 售價USD 433,000。值得注意的是，在這兩件筆筒上都能看到十分相似的亭臺和芭蕉樹。

'ANECDOTES FROM THE LIFE OF CONFUCIUS', AFTER QIU YING (1494-1552) AND WEN ZHENGMING (1470-1559), QING DYNASTYChina, 18th-19th century. Ink and watercolors on silk. Containing ten leaves. With various depictions of the legendary philosopher Confucius (551-479 BC), showing him seated with other scholars on a rock above a group of soldiers with further warriors hiding in the background, seated at a table examining a scroll in a palace terrace; relaxing in a pavilion; together with a qilin; kneeling in prayer; walking through a forest; and engaged in other pursuits. With silk brocade front and back covers.Inscriptions: Signatures of Qiu Ying and Wen Zhengming. The final leaf dated 'Jiajing wuxu' (corresponding to 1538).Provenance: Sotheby's New York, 22 September 1997, lot 60. A private collector, acquired from the above, and thence by descent.Condition: The leaves and front and back covers have come apart. Very good condition overall with only minor wear, little soiling and foxing, and few small losses.Dimensions: Image size ca. 30.5 x 28.6 cm (each), Cover size 37.2 x 32.2 cmThe ten scenes presented in this album are titled and inscribed as follows: Visitation: When Confucius was ill, King Lu sent a messenger to visit him Presenting the Medicine: King Lu sent a messenger to deliver medicine to Confucius The Dream of Two Pillars: The student Zigong visited Confucius. Confucius told him that he dreamt of sitting between two pillars. A few days later, Confucius died. Hunger Strike in the Chen Empire: The King of Chu invited Confucius to his state. The King of Chen was afraid that Confucius would lend great strength to Chu and did not want to let him leave. Chen sent soldiers to Confucius, who went on hunger strike for seven days. Zixi hinders a bestowal to Confucius: The King of Chu wanted to bestow lands on Confucius. His prime minister Zixi did not believe it was a good decision and thwarted the bestowal. Writing the Six Classics: At the age of 71, Confucius completed the Six Classics. Capturing a Qilin during a Hunt: The King of Lu captured an unknown creature while hunting. Confucius was able to identify it and said it was an auspicious animal. Unfortunately the animal died of its injuries. Confucius died two years later. Red Rainbow from the Sky: One day a red rainbow descended from the sky and turned into yellow jade. Confucius kneeled before it. Grandiose Song by Jieyu from the Chu State: After Confucius' arrival in the Chu state, Jieyu, an impartial resident of Chu, walked past his door and sang loudly. Zigong Tends to the Grave: After Confucius' death, his student Zigong took care of his grave for six years.Confucius (551-479 BC) was a Chinese philosopher, poet, and politician of the Spring and Autumn period who was traditionally considered the paragon of Chinese sages. Confucius' teachings and philosophy formed the basis of East Asian culture and society, and continues to remain influential across China and East Asia as of today. His philosophical teachings, called Confucianism, emphasized personal and governmental morality, correctness of social relationships, justice, kindness, and sincerity. Confucianism was part of the Chinese social fabric and way of life. To Confucians, everyday life was the arena of religion. Confucius's principles have commonality with Chinese tradition and belief. With filial piety, he championed strong family loyalty, ancestor veneration, and respect of elders by their children and of husbands by their wives, recommending family as a basis for ideal government. He espoused the well-known principle "Do not do unto others what you do not want done to yourself", the Golden Rule.Literature comparison: Compare a related album leaf depicting Confucius, also dated to the Qing dynasty, in the collection of the British Museum, 1902,0606,0.56.a-v. 清代仿仇英與文徵明《孔子聖跡圖》冊頁中國，十八至十九世紀。絹本水墨設色。十頁，分別描繪了聖人孔子的歷史故事，其中有：問疾圖，賜藥圖，夢奠兩楹圖，在陳絕糧圖，子西阻封圖，刪述六經圖，西狩獲麟圖，天降赤紅圖，接興狂歌圖，子貢盧墓圖。冊頁，硬質封面封底，綾錦裝裱。款識: 仇英，文徵明，嘉靖戊戌 (1538年) 來源：紐約蘇富比，1997年9月22日 lot 60；私人藏家，購於上述拍賣，保存至今。 品相：封面和封底與版心已經脫離，整體狀況極好，只有輕微磨損，少量污漬與小缺損。 尺寸：畫面30.5 x 28.6 厘米，封面 37.2 x 32.2 厘米

A CELADON AND RUSSET JADE 'DRAGONFLY AND LOTUS' BRUSHWASHER, LATE QING TO EARLIER REPUBLICChina, 1840-1940. Finely carved in the form of a large furled lotus leaf borne on a short sinuous stalk, with two smaller leaves and three dragonflies around the sides as well as three small leaves to the base. The dragonflies are neatly incised while other parts of the depiction are carved in high relief. The translucent stone is of a celadon tone with russet skin, skillfully utilized in the depiction, as well as dark speckles and icy inclusions.Provenance: From a private collection in New York City, New York, USA.Condition: Excellent condition with minor old wear and some traces of use. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Fine manually applied polish overall.Weight: 930.3 gDimensions: Length 20.7 cmIn China, the dragonfly symbolizes summer, harmony, and prosperity. However, it can also symbolize change. A common Chinese expression, qing ting dian shui (the dragonfly lightly touches the water), is a reference to the dragonfly's way of hovering and tapping on the surface of water to lay its eggs. This is often metaphorically referred to as a delicate skill or technique in conversation with others.Auction result comparison: Compare a closely related celadon jade brushwasher at Sotheby's New York in Fine Chinese Ceramics & Works of Art on 16 September 2008, lot 60, bought-in at an estimate of USD 12,000-15,000; another in yellow jade and dated to the 18th century at Bonhams New York in Fine Chinese Paintings and Works of Art on 9 September 2019, lot 816, sold for USD 10,075; and a third in pale green jadeite dated to the 19th century at Christie's London in Fine Chinese Ceramics and Works of Art on 8 November 2011, lot 74, sold for GBP 8,125.清末民初“蜻蜓荷葉”青玉筆洗 中國，1840-1940年。筆洗精心巧雕成彎卷的荷葉，長在彎曲的短莖上，兩側有兩片小葉和三隻蜻蜓，底部有三片小葉。 蜻蜓雕刻生動活潑，而其他部分則以高浮雕雕刻而成。半透明的玉石是青色調，赤褐色皮，巧妙運用。還可見深色斑紋和内沁。 來源：美國紐約私人收藏 品相：狀況極好，有輕微舊時磨損和一些使用痕跡。具有天然紋理的玉石，隨著時間的推移，其中一些紋理可能會發展成細小的裂縫。精細的手工拋光。 重量：930.3 克 尺寸：長 20.7 厘米 拍賣結果比較：比較一件相近青玉筆洗，見紐約蘇富比Fine Chinese Ceramics & Works of Art 2008年9月16日 lot 60, 估價 USD 12,000-15,000; 另一件十八世紀黃玉筆洗見紐約邦翰思Fine Chinese Paintings and Works of Art 2019年9月9日 lot 816, 售價USD 10,075; 第三件灰綠色玉筆洗，十九世紀，見倫敦佳士得Fine Chinese Ceramics and Works of Art 2011年11月8日 lot 74, 售價GBP 8,125。

A GRAY JADE ARCHAISTIC 'CHILONG' PENDANT, YUAN TO MING DYNASTYChina, 1279-1644 or earlier. Note that Una Pope-Hennessy dated the present lot to “T'ang dynasty or later” in her 1923 reference book “Early Chinese Jades”. Boldly carved as a leaf with an oval perforation in the center, a large chilong with bifurcated tail, funnel-shaped ears, and large bulging eyes clambering on the leaf and entwined through the aperture, looking toward its young perched on the edge of the leaf. The translucent stone is of a gray tone with patches of pale brown color as well as black veins and specks.Provenance: From the collection of Professor J. Norman Collie. Sotheby's London, 9 April 1943, lot 303. Henry Tozer, acquired from the above. Sotheby's London, 26 July 1960, lot 118. Victor Ezekiel, acquired from the above. Professor John Norman Collie (1859-1942) was an English scientist, mountaineer, and explorer. Henry Tozer was an avid enthusiast of Asian Art. His collection included Tang pottery, early Chinese bronzes, later porcelains, jade carvings, and Japanese prints. He was a regular client of Bluett's between 1942-1958. Marcus Ezekiel (1854-1927) and his son Victor (1905-1976) were two leading figures in the formative years of Chinese art collecting in London in the first part of the 20th century, and important early members of the Oriental Ceramic Society. Published: Una Pope-Hennessy, Early Chinese Jades, London, 1923, pl. XXXIII, fig. 2, dated to “T'ang dynasty or later”.Condition: Very good condition with only minor old wear, few tiny chips (the largest 3 mm long) to the edge of the leaf. With a good, unctuous feel overall and a nice, naturally grown luster.Weight: 50.1 gDimensions: Length 7.7 cmAuction result comparison: Compare a closely related archaistic jade carved as a thumbring (she), also with a central aperture and two clambering chilong, dated Ming-Qing dynasty, at Sotheby's Hong Kong in Chinese Art on 28-29 November 2019, lot 816, sold for HKD 750,000 (part lot, together with an archaistic huan disk). For later examples, see Bonhams, 5 November 2020, lot 160, sold for GBP 16,312 and Christies, 26 November 2014, lot 3158, sold for HKD 275,000.元明時期玉雕螭龍掛件中國，1279-1644 年或更早。請注意，Una Pope-Hennessy在她1923年出版的 “Early Chinese Jades” 一書中認爲此掛件應爲唐代或更早。玉料被雕刻成一片葉子，中間有一個橢圓形的穿孔，一隻大螭龍，尾巴分叉，耳朵呈漏斗狀，大大的眼睛在葉子上攀爬並纏繞穿過穿孔，望向正趴在葉子邊緣的幼崽 。半透明的石料呈灰色調，帶有淺棕色的斑塊以及黑色的紋理和斑點。 來源： Professor J. Norman Collie收藏。倫敦蘇富比1943年4月 9日lot 303；Henry Tozer購於上述拍賣；倫敦蘇富比1960年7月26日lot 118；Victor Ezekiel購於上述拍賣。Professor John Norman Collie (1859-1942) 曾是一位英國科學家、登山冒險家。Henry Tozer曾是一位亞洲藝術的愛好者。他的收藏中有唐代陶器、早期中國青銅器、晚期瓷器、玉雕和日本版畫。1942-1958 年間，他曾是 Bluett 藝廊的常客。Marcus Ezekiel (1854-1927) 和他的兒子 Victor Ezekiel (1905-1976) 曾是20世紀上半葉倫敦的中國藝術收藏形成及穩定時期的兩位領軍人物，同時也是東方陶瓷學會早期重要成員。出版：Una Pope-Hennessy, Early Chinese Jades（中國早期玉器），倫敦，1923年，pl. XXXIII, 圖2。 品相：狀況非常好，只有輕微的磨損，葉片邊緣有一些微小的磕損（最大的長3 毫米）。 包漿整體感覺良好、光滑細膩。 重量：50.1 克 尺寸：長7.7厘米 拍賣結果比較：比較一件相近的明代玉雕螭龍扳指，見香港蘇富比Chinese Art 2019年11月28-29日 lot 816, 售價HKD 750,000 (和一件玉環一起)；另見邦翰思2020年11月5日 lot 160, 售價GBP 16,312 ；以及佳士得2014年11月 26日lot 3158, 售價HKD 275,000。

A RARE BLACK AND WHITE NEPHRITE JADE STRIATED BOWL, QIANLONG MARK AND PERIODChina, 1736-1795. The deep rounded sides rising from a thick foot ring and flaring to an everted rim. The foot is incised with a single line band to the foot. The translucent stone of an attractive pale gray tone with bands of fine black flecks as well as cloudy white inclusions. The base incised with a six-character mark da Qing Qianlong nianzhi and of the period.Provenance: Collection of Louise Hawley Stone, Toronto, Canada. Ben Janssens Oriental Art, London, 13 July 1998. Asbjorn Lunde, acquired from the above. An edited copy of the original invoice signed by Ben Janssens, addressed to Asbjorn Lunde, dated 13 July 1998 and confirming the dating of the present bowl, accompanies this lot. Louise Hawley Stone (1903-1997) was a longtime patron of the Royal Ontario Museum, serving on the Board of Directors and especially the Bishop White Committee which she chaired for many years, establishing the Far Eastern Endowment Fund. Asbjorn Lunde (1927-2017) was a New York lawyer and devoted art collector. Over more than 60 years, he built a substantial collection featuring Old Masters, landscape paintings, prints, European sculpture, South Asian painting and sculpture, and Asian decorative arts. Throughout his life, Mr. Lunde supported more than forty museums in New York City, across the United States, and in Europe with loans, gifts, and funding. He was a Fellow and Benefactor at the Metropolitan Museum of Art.Condition: Good condition with minor old wear and fine unctuous feel overall. The rim with a minuscule chip and a short hairline of ca. 2 cm, almost invisible to the naked eye.Weight: 220.9 gDimensions: Diameter 14.2 cmLiterature comparison: Compare a closely related jade bowl, of near-identical material showing gray veins running diagonally through the stone, but of slightly larger size and incised with a Jiaqing four-character mark, illustrated in Lord Jiaqing and the Journey to Taiwan: A Special Exhibition on Cultural Artifacts of the Qing Emperor Renzong, National Palace Museum, Taiwan, 2016, pp. 260-261, no. III-24. The author notes that the gray jade is from the Xinjiang region, that several gray Islamic-style jades are in the collection of the National Palace Museum but only a few have reign marks, and that of the jade tribute items submitted from Kashgar in 1817, there is a two-handled gray-jade bowl of similar quality.Auction result comparison: Compare a near-identical bowl, also with a Qianlong mark, but dated 18th-19th century, at Christie's New York in Fine Chinese Ceramics and Works of Art on 17 September 2010, lot 1113, sold for USD 21,250, and a closely related but slightly larger bowl, also with a Qianlong mark and of the period, at Sotheby's Hong Kong in Fine Chinese Ceramics and Works of Art on 9 October 2007, lot 1584, bought-in at an estimate of HKD 400,000-600,000. 乾隆款與年代黑白紋玉碗中國，1736-1795年。口沿外撇，平整光滑，廣腹漸斂，底承圈足。通體光素無紋，琢磨圓潤。半透明玉石，具有迷人的淺灰色調，細小的黑色斑點和絮狀白色内沁。底足内“大清乾隆年製”六字款。 來源：加拿大多倫多Louise Hawley Stone收藏。倫敦Ben Janssens Oriental Art藝廊，1998年7月13日。Asbjorn Lunde購於上述藝廊。隨附一份藝廊注明玉碗年代的發票複印件。Louise Hawley Stone (1903-1997) 是皇家安大略博物館的長期贊助人，在董事會任職，並多年擔任懷特主教委員會主席，建立了遠東捐贈基金。 Asbjorn Lunde (1927-2017) 是一位紐約律師和忠實的藝術收藏家。 六十多年來，他建立了龐大的收藏，涵蓋古代大師、山水畫、版畫、歐洲雕塑、南亞繪畫和雕塑以及亞洲裝飾藝術。在他的一生中，他通過貸款、禮物和資金支持了紐約市、美國和歐洲的四十多家博物館。 他是大都會藝術博物館的研究員和捐助者。 品相：狀況良好，輕微磨損，整體感覺光滑。邊緣有一個微小的磕損和一條約2厘米的裂紋，肉眼幾乎看不見。 重量：220.9 克 尺寸：直徑14.2 厘米 拍賣結果比較：比較一件同樣為乾隆款的十八至十九世紀幾乎一模一樣的玉碗，見紐約佳士得Fine Chinese Ceramics and Works of Art 2010年9月17日 lot 1113, 售價USD 21,250；一件相近但更大的玉碗，乾隆款及年代，見香港蘇富比 Fine Chinese Ceramics and Works of Art 2007年10月 9日 lot 1584, 估價 HKD 400,000-600,000。

A SPINACH-GREEN JADE 'BEETLE AND LOTUS' WASHER, QING DYNASTYChina, 18th – 19th century. Finely worked as a lotus leaf with inward-curved edges, raised circles and a ruyi design, carved around the rim in openwork with a gnarled leafy stalk bearing a lingzhi sprig and surmounted by a beetle. The translucent, almost transparent stone is of a beautiful spinach-green tone with dark-green and black specks as well as few white and russet inclusions.Provenance: The Victor Ezekiel Collection, acquired before 1970. Marcus Ezekiel (1854-1927) and his son Victor (1905-1976) were two leading figures in the formative years of Chinese art collecting in London in the first part of the 20th century, and important early members of the Oriental Ceramic Society. Condition: Excellent condition with minor old wear, the stone with natural fissures, some of which may have developed into minuscule hairline cracks over time. Good, unctuous feel overall.Weight: 53.3 gDimensions: Length 9.3 cmAuction result comparison: Compare a related spinach-green washer carved as a lotus leaf, dated to the 18th century, at Sotheby's London in Asian Art on 17 May 2019, lot 203, sold for GBP 11,000. Compare also a spinach-green jade snuff bottle, also carved as a lotus leaf surmounted by a beetle, dated 1780-1880, at Christie's New York in The Blanche B. Exstein Collection of Chinese Snuff Bottles on 21 March 2002, lot 246, sold for USD 11,163. 清代碧玉連年富甲筆洗中國，十八至十九世紀。精美的荷葉，邊緣向內彎曲，如蓮子紋和如意圖案，邊緣鏤空雕刻，帶有多節的枝幹，靈芝小枝，小甲殼蟲攀爬其上。玉料半透明、幾乎透明的寶石呈美麗的菠菜綠色調，帶有深綠色和黑色斑點，以及少量白色和赤褐色內沁。 來源：Victor Ezekiel收藏，購於1970年前。Marcus Ezekiel (1854-1927) 和他的兒子 Victor Ezekiel (1905-1976) 曾是20世紀上半葉倫敦的中國藝術收藏形成及穩定時期的兩位領軍人物，同時也是東方陶瓷學會早期重要成員。品相：狀況極佳，輕微磨損，玉料具有天然裂縫，隨著時間的推移，其中一些可能已經發展成微小的裂縫。整體感覺光滑油潤。 重量：53.3 克 尺寸：長 9.3 厘米 拍賣結果比較：比較一件十八世紀菠菜綠蓮葉筆洗，見倫敦蘇富比Asian Art 2019年5月17日 lot 203, 售價GBP 11,000；比較一件1780-1880年菠菜綠玉雕蓮葉甲蟲鼻烟壺，見紐約佳士得The Blanche B. Exstein Collection of Chinese Snuff Bottles 2002年3月21日 lot 246, 售價USD 11,163。

A CELADON AND RUSSET JADE 'LOTUS LEAF' BRUSH WASHER, 17TH CENTURYChina. The deep rhyton-shaped vessel finely carved as a furled lotus leaf with boldly incised veins to the exterior, the oval base in the form of entwined branches with smaller curved leaves and a lotus bud. The mostly translucent stone of a deep celadon tone with russet shadings skillfully incorporated in the depiction as well as dark speckles and cloudy white inclusions.Provenance: Property from the George Brauel Collection. Christie's New York, 6 April 2010, lot 358 (part lot). Roger Keverne, London, acquired from the above. Roger Keverne served as the Chairman of Asian Art in London and as the President of BADA. He began his 50-year career with Spink & Son, rising to head the Asian department by the age of only 28. He left Spink in 1992 to start his own gallery together with Miranda Clarke, his wife and business partner, in Mayfair, London, which eventually closed its doors in June 2020.Condition: Excellent condition with minor wear and microscopic nibbling here and there.Weight: 215.8 gDimensions: Length 10.2 cmExpert's note: The furled lotus leaf design became popular because its wavy lip could be used as a brush rest. Opposed to that, rhytons mostly have a straight lip.Auction result comparison: Compare a related celadon jade leaf-form brush washer, dated 17th-18th century, at Sotheby's New York in Fine Chinese Ceramics & Works of Art on 17 September 2013, lot 123, sold for USD 25,000. 十七世紀青玉留皮蓮葉筆洗中國，十七世紀。筆洗如捲起的荷葉，清晰的葉脈，橢圓形的底座如纏繞的荷葉，帶有小花骨朵。深青色半透明玉料，巧妙利用其赤褐色陰影，以及深色斑點和白色内沁。 來源：George Brauel 收藏。紐約佳士得2010年4月6日 lot 358 (拍品組中的一件)。倫敦Roger Keverne，購於上述收藏。Roger Keverne 曾擔任倫敦亞洲藝術協會主席和 BADA 總裁。 他在 Spink & Son 開始了他 50 年的職業生涯，年僅 28 歲就成為亞洲部門的負責人。他於 1992 年離開 Spink，與他的妻子和商業夥伴 Miranda Clarke 在倫敦Mayfair成立了自己的藝廊 ，最終於 2020 年 6 月關閉。品相：狀況良好，有輕微磨損。 重量：215.8 克 尺寸：長 10.2 厘米 專家注釋：捲起的荷葉設計在當時非常流行，因為它翻捲的邊緣可以用作筆架。 拍賣結果比較：一件十七至十八世紀的青玉葉形筆洗，見紐約蘇富比 Fine Chinese Ceramics & Works of Art 2013年9月17日 lot 123, 售價USD 25,000。

A LARGE WHITE JADE AND GILT-COPPER RUYI SCEPTER, QING DYNASTYChina, 18th-19th century. Superbly decorated to the sinuous shaft in high relief with numerous cranes and peaches borne on gnarled leafy branches amid clouds and rockwork against a finely punched ground, framed by two borders with evenly spaced lotus sprays against a similarly punched ground, all above a Shou character flanked by two bats in flight. The head with a band of T-scroll above scrolling vines framing the translucent white jade plaque carved in high relief with a bat flying above two peaches borne on a gnarled leafy branch.Provenance: From an English private collection. Condition: Good condition with extensive wear to gilt, minor dents, few minuscule nicks and cracks, occasional light scratches, few small splits.Weight: 830 gDimensions: Length 45 cmAuction result comparison: Compare a related white jade and gilt copper ruyi scepter, also dated 18th-19th century, at Sotheby's Hong Kong in Important Chinese Works of Art on 7 April 2015, lot 3664, bought-in at an estimate of HKD 500,000-700,000. Compare a related white jade and gilt copper ruyi scepter, dated to the 19th century, of considerably smaller size (32.8 cm long), at Sotheby's Hong Kong in Chinese Art on 1 June 2015, lot 855, sold for HKD 200,000. Compare a related gilt bronze ruyi scepter, dated to the 19th century, of smaller size (31.1 cm long) and inset with jadeite and ruby, at Christie's New York in Fine Chinese Ceramics, Jades and Works of Art on 19 September 2007, lot 103, sold for USD 37,000. 清代鎏金銅鑲白玉福壽如意中國，十八至十九世紀。柄體扁平，鏨卷葉邊，柄體鏨鶴桃紋與蝙蝠紋，寓意“福壽連綿”。如意頭部鑲嵌白玉，上面浮雕壽桃，四周纏枝紋。來源：英國私人收藏。 品相：狀況良好，鎏金大量磨損，輕微凹痕，少量微小的劃痕和裂縫，局部有輕微劃痕，少量有小裂痕。 重量：830 克 尺寸：長45 厘米 拍賣結果比較：比較一件相近十八至十九世紀白玉銅鎏金如意，見香港蘇富比Important Chinese Works of Art 2015年4月7日lot 3664, 估價HKD 500,000-700,000；比較一件相近的十九世紀白玉銅鎏金如意，尺寸稍小 (32.8 厘米長)，見香港蘇富比Chinese Art 2015年6月1日 lot 855, 售價HKD 200,000。比較一件相近鎏金銅如意，十九世紀，尺寸稍小(31.1 厘米長)，鑲嵌翡翠和紅寶石，見紐約佳士得Fine Chinese Ceramics, Jades and Works of Art 2007年9月19日 lot 103, 售價USD 37,000。

A LARGE 'SHOULAO GROTTO', DEEP CELADON AND RUSSET JADE, 18TH CENTURYChina. Superbly carved in reticulated openwork to depict a craggy rock grotto, in it Shoulao flanked by his attendant and a deer below a towering, gnarled tree bearing longevity peaches and two bats in flight attempting to feed on them. The Daoist immortal carries a peach in his left and a gnarled staff in his right. His hallmark, the tall cranium, was given a sublime polish by an obviously devoted lapidary.Provenance: From a noted private collection in Milan, Italy. Sotheby's Milan, 19 October 2010, lot 31, sold for EUR 63,150 - EUR 77,960 in today's currency after inflation. Roger Keverne, acquired from the above. Roger Keverne served as the Chairman of Asian Art in London and as the President of BADA. He began his 50-year career with Spink & Son, rising to head the Asian department by the age of only 28. He left Spink in 1992 to start his own gallery together with Miranda Clarke, his wife and business partner, in Mayfair, London, which eventually closed its doors in June 2020. Published: Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics - Winter Exhibition, London, 2011, no. 95. The price list for this exhibition shows 'POA' (price on application) for the present lot. Given the general minimum for objects listed as 'POA', the price for the present lot must have been >GBP 100,000.Condition: Pristine condition with only minor old wear, few minuscule nicks, the stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 4,312 gDimensions: Height 27 cm, Width 17 cmDuring his reign, Emperor Qianlong requested that jade mountains, as well as plaques and panels with mountainous landscapes, should take their artistic influence from the work of famous painters. The present lot gives clear evidence of this philosophy. Jade is a material that from ancient times has been associated with longevity and immortality. It is therefore a particularly appropriate medium from which to carve representations of the mountainous realm of the Daoist immortals.The theme of longevity is clearly evident on the present boulder, with the depiction of Shoulao and the deer under a tree bearing large peaches. The elongated form of the boulder and the skillful layering of rockwork help to create a magical atmosphere, thereby contributing to the Daoist themes of mysticism and immortality.Auction result comparison: Compare a closely related but smaller (20.5 cm high) greenish-white jade grotto, with a similar depiction of Shoulao and attendant with deer and peaches, dated 17th-18th century, at Christie's New York in Fine Chinese Ceramics and Works of Art on 21 March 2014, lot 2506, sold for USD 93,750. Compare a related but slightly smaller (23.4 cm high) pale celadon jade boulder with Shoulao and deer, dated to the Qianlong period, at Christie's Hong Kong, in The Imperial Sale, Important Chinese Ceramics and Works of Art on 31 May 2010, sold for HKD 7,820,000. Compare also a related pale celadon jade boulder depicting Guanyin in a grotto, also dated to the 18th century, at Sotheby's Hong Kong in Fine Chinese Ceramics and Works of Art on 7 April 2013, lot 3108, sold for HKD 1,480,000.十八世紀大型青玉留皮壽老圖山子 中國，精美鏤雕山岩下桃樹旁，立著壽老和他的侍從和一只鹿。桃樹上碩果纍纍，兩隻飛舞的蝙蝠。壽老左手持桃，右手持杖。他的標志性額頭被技藝高超的玉匠打磨得極其潤澤。 來源：義大利米蘭知名私人收藏；米蘭蘇富比2010年10月19日 lot 31, 售價EUR 63,150 - EUR 77,960（換算成今日歐元價值） 。Roger Keverne私人收藏，購於上述藝廊。Roger Keverne 曾擔任倫敦亞洲藝術協會主席和 BADA 總裁。 他在 Spink & Son 開始了他 50 年的職業生涯，年僅 28 歲就成為亞洲部門的負責人。他於 1992 年離開 Spink，與他的妻子和商業夥伴 Miranda Clarke 在倫敦Mayfair成立了自己的藝廊 ，最終於 2020 年 6 月關閉。 出版：Roger Keverne, Fine and Rare Chinese Works of Art and Ceramics - Winter Exhibition, London, 2011, no. 95. 展覽價格單上顯示了此拍品當時的價格，鑒於展覽價格單上的價格是拍品的最低價格，因此可以推斷這拍品的價格應該高於GBP 100,000。 品相：原始狀態，只有輕微磨損，少量微小的劃痕，帶有天然脈絡的玉料，隨著時間的推移，其中一些裂縫可能已經發展成細小的裂縫。 重量：4,312 克 尺寸：高27 厘米, 寬 17 厘米 乾隆皇帝在位期間，曾要求玉雕山子、山水牌匾、畫板，都應藉鑒名家畫作。本拍品清楚地體現了這一理念。 玉是一種自古以來就象徵著長壽和不朽。 因此，它是一種特別適合用來雕刻道教仙人以及山水的媒介。這件山子的長壽主題非常明顯，壽老和結著大桃子的樹下的鹿，洞窟巨石的形狀和巧妙的分層都有助於營造一種神秘的氛圍，更加體現了神秘和不朽的仙道主題。拍賣結果比較：一件十七至十八世紀的青白玉壽老與童子的山子，但尺寸較小 (高20.5 厘米) ，見紐約佳士得 Fine Chinese Ceramics and Works of Art 2014年3月21日 lot 2506, 售價USD 93,750；另一件乾隆時期青白玉壽老與鹿山子，但尺寸較小(23.4 cm high)，見香港佳士得The Imperial Sale, Important Chinese Ceramics and Works of Art 2010年5月31日 售價HKD 7,820,000；一件十八世紀青白玉觀音山子，見香港蘇富比Fine Chinese Ceramics and Works of Art 2013年4月 7日 lot 3108, 售價HKD 1,480,000。

A CELADON JADE 'ARCHAISTIC' VASE, FANG GU, QIANLONG MARK AND PERIODChina, 1736-1795. Of square section, supported on a thick foot, tapering toward the bulbous mid-section and flaring to the everted rim. The vase is undecorated, leaving the viewer only with the mesmerizing appearance of the translucent jade of celadon tone with gray shadings as well as striated bands of fine black and white specks. The rim with a neatly incised and gilt six-character horizontal mark da Qing Qianlong nianzhi and of the period.Provenance: Spink & Son, London, December 1981, no. 62 (according to Spink catalog and matching label to base). The Plesch Collection, no. Hu27 (label to base), acquired from the above. A copy from page 19 of the Spink catalog from 1981, listing the present lot as no. 62, “A gu of plain flared form. A grey tone with striations and markings. The rim with an incised Qianlong six character mark and of the period (1736-1795). Height 27.5 cms.”, accompanies this lot. Peter and Traudi Plesch were both refugees from Nazi persecution. Peter had left Germany with his father, who was the medical doctor of Albert Einstein, who once gently commented on the practical difficulties of young Peter's ingenious design for a perpetual motion machine. Peter Plesch had already formed a fine collection when he met Traudi. One influence had been his maternal great uncle, Fritz von Gans, who had left his antiquities collection to the Royal Prussian Museum, Berlin. However, on their honeymoon in Israel, Traudi fell for the lure of ancient Chinese glass which inspired a new joint adventure, the one criterion for a purchase being that she and Peter should both want the object, although not necessarily with the same passion. Thus their collection was formed slowly and wisely over four decades, later expanding into jades and ancient bronzes, reflecting their desire to have beautiful, but also academically meaningful pieces.Condition: Very good condition with minor wear, the foot with one corner smoothened. The stone with natural fissures, some of which may have developed into small hairline cracks over time. Fine, manually applied polish with an unctuous feel overall.Weight: 2,367 gDimensions: Height 27.5 cmExpert's note: The Qianlong Emperor's great love of jade combined with his passion for antiques resulted in his commissioning significant numbers of archaistic jade items for his court. The present lot belongs to an important group of such objects, all carved from 'impure' jade with prominent fissures and inclusions, erroneously believed by some to be anathema to the Emperor. On the contrary, jades carved from this specific material were one of his greatest passions. During the 44th year of the Qianlong reign (1779), the Suzhou Manufactory was ordered to create a jade vase from a piece of shanliao (nephrite) raw jade. Because of cracks in the jade, the intended size was not possible, and the manufactory sought further instruction from the Emperor. Qianlong responded that if by reducing the size of the finished vase the cracks could be avoided, that would be a good solution, but if even then the cracks could not be avoided, then it would be better to maintain the intended size, as such cracks were a natural characteristic of jade after all. In fact, the Qianlong Emperor believed that defects such as spots and cracks added to the archaic feeling of a jade vessel.This aesthetic use of material defects can also be seen in other archaistic jade objects created during the Qianlong reign (see Auction result comparison), indicating that the Emperor considered the craft and decorative program of a jade object more important than the quality of the raw material. Although Qianlong had always had a love of the past, he only promoted the production of archaistic jades in society at large during the middle and late periods of his reign, due to the appearance of certain new kinds of jade that he detested. In the 39th year of his reign (1774), Qianlong criticized the “wretched new forms of jade” in his writing, and later proceeded to lodge repeated criticisms against other new-fangled forms that he considered unacceptably vulgar for being overwrought, excessively ornate, or slavish towards raw materiality. He regarded the popularity of such forms as a “catastrophe for jade”. Whether these forms strike us today as indeed catastrophic or rather innovative, it is clear that the Emperor found them unbearable.Auction result comparison: For an Imperial greenish-white jade archaistic hu-form vase, with a Qianlong fanggu mark and of the period, see Christie's Hong Kong, 28 May 2014, lot 3370, sold for HKD 2,920,000. Compare a closely related jade vase, of hu form, also mostly undecorated, and carved from similarly 'impure' jade, with a Qianlong fanggu mark and of the period, at Bonhams London in Fine Chinese Art on 17 May 2018, lot 161, sold for GBP 31,250.乾隆款及年代素面青玉方觚 中國，1736-1795年。長方口，有直邊，長頸，凸腹，高圈足外撇，下有直立裙邊。表面沒有修飾，只有青玉本身的天然色域，青灰黑白不一。口沿處鎏金刻六字款“大清乾隆年製”。 來源：倫敦Spink & Son藝廊，1981年12月，no. 62 (根據 Spink 目錄和底部標籤)。Plesch 收藏，no. Hu27 (底部標籤), 購於上述藝廊。隨附一份Spink 藝廊1981年目錄第十九頁，可見此拍品編號為62號。Peter 與Traudi Plesch 兩人都是遭受納粹迫害的難民。Peter與他的父親一起離開了德國，他的父親是阿爾伯特·愛因斯坦的醫生，愛因斯坦曾經溫和地和年輕的Peter討論如何設計永動機的實際困難。 Peter Plesch 在遇到 Traudi 時已經擁有了一個很好的收藏。他的外叔祖弗里茨·馮·甘斯 (Fritz von Gans)曾給Peter極大的影響，他將自己的文物收藏留給了柏林皇家普魯士博物館。 然而，在以色列度蜜月時，Traudi 被中國古代琉璃的魅力所吸引，因此激發了一次新收藏冒險。他們購買藏品的一個標準是她和彼得必須都想要這件物品，但並不一定要有相同的熱情。因此，他們的藏品在四十年來被緩慢卻明智地構建著，後來擴展到玉器和古代青銅器，這反映了他們願意擁有美麗但同時也具有學術意義的藏品。 品相：狀況極好，有輕微磨損，一角底足很光滑。玉料有天然紋理裂紋，隨著時間的推移，其中一些可能會發展成細小的裂縫。 整體光澤細膩潤澤。 重量：2,367 克 尺寸：高27.5 厘米

A MAGNIFICENT WHITE JADE 'SPRING WATER' PLAQUE, JIN TO YUAN DYNASTYChina, 1115-1368. Of oval form, intricately carved in openwork and in layered relief to depict a goose in flight amidst long stems of lotus that rise from the rippling waves below, with blossoms and furled leaves, its long neck arched and beak clutching a leaf, all within a plain, rounded border. The translucent stone is of an even white tone with cloudy inclusions and very few dark speckles.Provenance: Marchant Ltd., London. An English private collection, by repute acquired from the above circa 1997, according to the family of the collector.Condition: Superb condition with minor old wear and few minuscule nicks here and there. Manually applied polish with a smooth, unctuous feel overall. Natural inclusions and fissures, inherent to the material.Weight: 58.6 gDimensions: Length 8.4 cmThe motif of the present plaque originated from the annual 'Spring Water' goose hunt conducted by the Khitan in the Liao dynasty and the Jurchen in the Jin dynasty.Literature comparison: Compare a closely related plaque illustrated by Robert Kleiner, Chinese Jades from the Collection of Alan and Simone Hartman, p. 46, no. 43 (also sold at Christie's Hong Kong on 28 November 2006, see Auction result comparison below). Compare a related plaque pierced with a flying goose and lotus, illustrated by Marchant, 85th Anniversary Exhibition of Chinese Jades from Tang to Qing, p. 51, no. 29, dated Yuan to early Ming. Compare also two related plaques dated to the Yuan dynasty, one illustrated by James C. Y. Watt, Chinese Jades from the Collection of the Seattle Art Museum, Seattle, 1989, no. 40, and another in the British Museum, illustrated by Jessica Rawson, Chinese Jade from the Neolithic to the Qing, London, 1995, p. 335, fig. 1.Auction result comparison: Compare a closely related white jade plaque with a similar depiction at Christie's Hong Kong, in Important Chinese Jades from the Personal Collection of Alan and Simone Hartman, 28 November 2006, lot 1445, sold for HKD 336,000. 金至元代“春水玉“白玉牌中國，1115-1368年。橢圓形玉牌，精雕細琢，鏤空分層浮雕大雁穿枝，四周纏枝蓮花。大雁長頸拱起，喙抓著一片葉子。 半透明的玉石呈均勻的白色，帶有絮狀物，少量黑斑。 來源：倫敦Marchant Ltd. 藝廊。英國私人收藏，據藏家家族描述説約在1997年購於上述藝廊。 品相：狀況極佳，有輕微舊時磨損和一些微小的劃痕。手工拋光，整體光滑油潤。玉料固有的天然内沁和裂縫。 重量：58.6 克 尺寸：長 8.4 厘米 拍賣結果比較：比較一件相近白玉牌見香港佳士得Important Chinese Jades from the Personal Collection of Alan and Simone Hartman 2006年11月28日 lot 1445, 售價HKD 336,000。

A CELADON JADE FIGURE OF A BOY MOUNTED ON A GILT BRONZE STAND, QING DYNASTYChina, 1644-1912. The boy wearing loose-fitting robes and holding a vase in both hands, a single peony blossom borne on a leafy stem rising from the vessel, the child with a content smile playing across the face. The translucent stone of a celadon tone with icy veins and inclusions.Provenance: Collection of Alexander Foerster, thence by descent in the same family. Alexander Foerster was an Austrian art dealer and expert who worked as an appraiser of Asian art for the auction house Dorotheum during the 1960s. A copy of Alexander Foerster's collection inventory, dated July 1961 and listing the present lot as no. 83, accompanies this lot.Condition: Good condition with old wear, minor losses, small nicks, the stone with natural fissures, some of which have developed into hairline cracks over time. The interior of the stand with some verdigris.Weight: 421.8 gDimensions: Height 14 cmMounted on a gilt-bronze stand of French origin dating to the same period, the rocaille stand issuing two curved leafy vines framing the figure as well as reeds and millet.Auction result comparison: Compare a related white jade carving of a boy, 8.9 cm high, dated 18th century, at Sotheby's New York in Important Chinese Art on 21 March 2018, lot 654, sold for USD 18,750. 十六至十七世紀鎏金銅曼達拉娃佛母西藏。曼達拉娃佛母立於蓮座上，微微側身，一手握著嘎巴啦碗，另一隻手施安慰印。她穿著一件鑲有珠飾的長袍，戴著葉形耳環和鑲嵌著珊瑚的串珠項鍊。 來源：紐約佳士得，1999年3月23日 lot 130；一個英國私人收藏，購於上述拍賣。 品相：狀況極好，有一些磨損、小缺損、刻痕和凹痕、輕微劃痕。鑲嵌的珊瑚珠可能是後來的更換品。包漿整體細膩。重量: 392.4 克 尺寸：高 15.3 厘米 拍賣結果比較：比較一件相近的鎏金銅曼達娃拉佛母坐像，高12.6 厘米，十六世紀，見紐約佳士得Indian and Southeast Asian Art 2011年3月 22日 lot 293, 售價USD 37,500。

A LARGE BLUE AND WHITE 'PHOENIX AND PEONY' DISH, YU TANG (JADE HALL) MARK, TRANSITIONALChina, c. 1650-1660. The deep rounded sides rising from a thick, slightly tapered foot to a brown-enameled rim, the interior boldly painted with two phoenixes by a large craggy rock, which partly obscures one of the legendary birds, surrounded by gigantic peony blossoms, enclosed by a double line border. The recessed base bears an underglaze-blue four-character mark yu tang jia qi ('beautiful vessel for the Jade Hall') within a double circle.Provenance: R & G McPherson Antiques, London, 23 July 2008. A British private collection, acquired from the above. A copy of the original signed invoice, dated 23 July 2008 and confirming the dating above, accompanies the present lot.Condition: Very good condition with minor wear and some firing flaws, including kiln grit and dark spots. The central interior engraved with a mark, probably either for the family name Lu or the number six. Shallow surface scratches.Weight: 2,315 gDimensions: Diameter 35.2 cmAuction result comparison: Compare a related blue and white dish depicting immortals, also with a yu tang jia qi mark and dated circa 1650, at Christie's New York in An Era of Inspiration: 17th-Century Chinese Porcelains from the Collection of Julia and John Curtis on 16 March 2015, lot 3560, sold for USD 27,500. Compare a related blue and white dish depicting a qilin, also with a yu tang jia qi mark and dated to the Kangxi period, at Christie's London in The Royal House of Savoy on 15 October 2019, lot 16, sold for GBP 9,750.過渡時期“玉堂佳器”款大型青花鳳穿牡丹紋盤中國，約1650-1660年。敞口，深圓腹，圈足，邊沿醬色釉；盤中青花勾勒鳳穿牡丹紋，精美華麗；圈足内青花雙圈“玉堂佳器”款。 來源：倫敦R & G McPherson Antiques藝廊，2008年7月23日；英國私人收藏，購於上述藝廊。隨附一份原始發票副本確認上述購物時間。 品相：狀況極好，有輕微磨損和一些燒製瑕疵，包括窯砂和黑點。盤内中央刻了一個“陸“字。 重量：2,315 克 尺寸：直徑35.2 厘米 拍賣結果比較: 比較一件相近的青花仙人紋盤，同樣有”玉堂佳器“ 款，約1650年，見紐約佳士得An Era of Inspiration: 17th-Century Chinese Porcelains from the Collection of Julia and John Curtis 2015年3月16日 lot 3560, 售價USD 27,500；比較一件相近的青花”玉堂佳器“ 款麒麟紋盤，康熙時期，見倫敦佳士得The Royal House of Savoy 2019年10月15日 lot 16, 售價GBP 9,750。

A Chinese tripod bronze censer, impressed with pseudo xuande mark to the rim and with carved hardwood cover and stand, the cover with jade finial, 12.4cm diameter Condition Report: General wear to the surface Condition Report Disclaimer

An 18th/19thC. Chinese jade censer, one handle a/f, lacking lid

A Chinese high carat green jade ring size H

A PALE CELADON JADE 'PHOENIX' EWER, QING DYNASTYChina, 1644-1912. Crisply carved in shallow relief on both sides of the flattened body with wings of an archaistic phoenix, its head carved in high relief below the spout suspending a loose ring, a sinuously coiled chilong forming the handle, the foot rim with a key-fret band. The translucent stone of a pale celadon tone with few dark speckles.Provenance: Viennese private collection. By repute acquired from Galerie Zacke, ca. 1980-1990.Condition: Good condition with minor old wear and few minuscule nicks to edges, a small repair to the chilong's head, some natural fissures and inclusions. Weight: 302.8 g Dimensions: Height 9.3 cm Auction result comparison: Compare with a related ewer, with a cover, at Sotheby's London in Important Chinese Art on 8 November 2017, lot 33, sold for GBP 18,750. 清代青白玉啣環饕餮紋觥中國，1644-1912年。玉觥略呈長方形，寬流，圈足均陰線刻雲雷紋一周，器身頸部淺浮雕卷葉紋，下腹部淺浮雕饕餮紋。其一側鏤瑞獸為柄，獸頭向外，身呈直線型附於觥身一側。口沿正中下方雕一鳳頭，鳳頭下有活環。來源：奧地利私人老收藏，據説購於奧地利Zacke藝廊，約在1980-1990年間。 品相：狀況良好，有輕微的舊時磨損，邊緣有少量微小的刻痕，螭龍的頭部有小修飾，有一些天然裂縫和内沁。 重量: 302.8 克 尺寸：高 9.3 厘米 拍賣結果比較：比較一件相近的蓋罐，見倫敦蘇富比 Important Chinese Art 2017年11月8日 lot 33, 售價GBP 18,750。

A PALE CELADON JADE 'BIXIE', LATE MING DYNASTYChina, 16th to 17th century. The beast's ears flicked back, bulging eyes above a ruyi-shaped snout, the open mouth revealing teeth, the paws carved in detail, with a well articulated spine, horn and wings. Fine incision work to legs, tail, mane, eyebrows, and beard. The translucent stone of a pale celadon tone with russet veins, small areas of russet skin and cloudy white inclusions. Provenance: From a private collection, Massachusetts, USA.Condition: Excellent condition. The stone with minor nicks to edges, natural inclusions and fissures, some of which may have developed into small hairline cracks over time. Fine, unctuous feel overall.Weight: 261.5 gDimensions: Length 8.5 cmWith a fitted hardwood stand, supported on four ruyi shaped feet, dating from the later Qing dynasty. (2)Auction result comparison: Compare a related pale celadon and russet jade figure of a mythical beast, dated to the 18th to 19th century, of slightly smaller size (8.3 cm), at Christie's London in Chinese Ceramics, Works of Art and Textiles Part II on 7 November 2014, lot 431, sold for GBP 27,500.明末青白玉雕瑞獸避邪擺件 中國，十六至十七世紀。瑞獸挺胸眉目突出，大口微張，頭頂有角，雙耳乖巧地下垂，背部一對翅膀，四肢矯健，後肢股部上有雙鉤深刻出的火焰狀紋。青玉帶沁，光滑柔潤。 來源：美國馬賽諸塞州私人收藏。 品相：狀況極佳。邊緣有輕微刻痕、天然內沁和紋理，其中一些可能隨著時間的推移發展成細小的裂縫。重量: 261.5 克 尺寸：長 8.5 厘米硬木底座，如意形四足，清末。 (2) 拍賣結果比較：比較一件相近的青白玉雕帶沁瑞獸，十八至十九世紀，尺寸稍小 (8.3 厘米), 見倫敦佳士得 Chinese Ceramics, Works of Art and Textiles Part II 2014年11月7日 lot 431, 售價GBP 27,500。

A GREEN JADE 'CARP' VASE, QING DYNASTYChina, 18th - 19th century. Vividly carved as a carp leaping from crashing waves, depicted with a large gaping mouth open to form the cavity of the vase, the fins and scales finely detailed and incised, with an elegantly curled tail. The translucent stone of an even, dark green tone with pale green clouding and scattered veins.Provenance: From a private collection in Southern Florida, USA.Condition: Very good condition. The stone with natural fissures, some of which have developed into small hairline cracks over time. A minuscule chip to the back fin. Tiny nicks here and there. With a good, unctuous feel overall.Weight: 655 gDimensions: Height 15.24 cm, Width 10.1 cmAccording to traditional Chinese belief, carp swimming upstream in the Yellow River must leap the rapids of the Dragon's Gate. The first to succeed in doing this is transformed into a dragon. This legend is frequently used and regarded as a metaphor for a poor scholar who passes the civil service examinations and succeeds in high office. The dragon-carp motif is thus a wish for success in achieving this.Auction result comparison: Compare a related carp vase, dated to the Qing dynasty, 16 cm, at Sotheby's London in Fine Chinese Jades from the Thompson-Schwabb Collection on 9 November 2016, Lot 9, sold for GBP 15,000.清代玉雕鯉魚瓶中國，十八至十九世紀。雕刻生動的鯉魚從洶湧的海浪中躍出，大口張開形成瓶口，鰭和鱗片雕刻細緻，尾巴外翹。半透明的玉料，均勻的深綠色調，帶有淡綠色的絮狀物和分散的紋理。 來源：美國南弗羅里達私人收藏。品相：狀況極好，天然裂縫隨著時間的推移，其中一些已經發展成細小的細縫。後鰭有一個微小的磕損。很多小刻痕。 包漿整體感覺良好光潤。重量：655克 尺寸：高15.24 厘米，寬 10.1 厘米 拍賣結果比較: 比較一件相近的清代鯉魚瓶，16 厘米，見倫敦蘇富比Fine Chinese Jades from the Thompson-Schwabb Collection 2016年11月9日 Lot 9, 售價GBP 15,000。

A PALE CELADON JADE CARVING OF A BIRD, WESTERN ZHOU DYNASTYChina, c. 1100-771 BC. Finely carved in the round as a bird standing on its two feet and tail, depicted with round eyes, a slightly hooked beak, and a crested crown. The wings and chest are detailed with characteristic double-line grooves. The bird's chest is pierced with two cord holes for suspension. The translucent stone is of a pale celadon tone with icy veins, cloudy white inclusions, black specks, and a small area of opaque calcification to one side.Provenance: From the collection of David Taylor, and thence by descent within the Taylor family. David Taylor (1876-1958) was a notable British businessman who lived in Belfast and owned various commercial buildings along with a substantial portfolio of stocks and shares. During his travels to China in the early 20th century, he acquired many jades, including the present lot. His grandfather, Sir David Taylor, was born in 1815 in Perth, Scotland, and moved to Belfast in 1842, serving as its Mayor in 1867 and for two consecutive terms in 1883 and 1884.Condition: Fine condition, commensurate with age. Few tiny nicks here and there, signs of weathering and ancient wear. The stone with natural fissures and some calcified areas. The carving shows a silky matte surface overall as a result of long-time burial.Weight: 27.4 gDimensions: Height 4.2 cmAuction result comparison: Compare a closely related celadon jade bird-shaped finial, with similar posture, eyes, beak, and decoration, and also dated to the Western Zhou Dynasty, at Christie's Hong Kong in Chinese Archaic Jades from the Yangdetang Collection Part II on 28 November 2018, lot 2734, sold for HKD 812,500.西周鳥形青白玉雕中國，公元前1100-771 年。圓雕立鳥，細節清晰，可見雙足和尾巴，圓眼，喙略呈鉤狀，頭上有冠。翅膀和胸部飾有獨特的陰陽線紋。鳥的胸部雙孔，可於懸掛。半透明玉料呈淡青色，有冰紋、絮狀物、黑色斑紋，一側有一小塊不透明的鈣化區域。 來源: David Taylor收藏，自此一直保存在Taylor家族中。David Taylor (1876-1958) 曾是一位著名的英國商人，住在貝爾法斯特，擁有各種商業建築以及大量股票和股份。二十世紀初，他到中國旅行時購買了許多玉器，包括現在的這件。 他的祖父戴維·泰勒爵士 1815 年出生於蘇格蘭Perth，1842 年移居Belfast，1867 年擔任市長，1883 年和 1884 年連任。 品相: 狀況良好，與年代相稱。局部有細小的刻痕，風化和磨損的跡象。天然裂紋和一些鈣化區域，表面啞光。 重量: 27.4 克 尺寸: 高4.2 厘米 拍賣結果比較: 比較一件十分相近的西周鳥形玉件，相似紋飾，見香港佳士得Chinese Archaic Jades from the Yangdetang Collection Part II 2018年11月28日 lot 2734, 售價HKD 812,500。

A CELADON JADE 'EIGHT HORSES OF MU WANG' BANGLE, QING DYNASTYChina, 18th-19th century. The exterior deftly carved in relief with the Eight Horses of Muwang in various postures, one lying on its back with its legs in the air, another licking one of its hooves, and a third in full gallop. The translucent stone of a celadon tone with shadings of olive, brown, and cream tone as well as icy inclusions and veins.Provenance: From a private collection in Kent, England, mostly acquired during the 1970s and 1980s.Condition: Excellent condition with minor wear and traces of use. The stone with natural fissures, some of which may have developed into small hairline cracks over time.Weight: 79.6 gDimensions: Diameter 8.7 cmAuction result comparison: Compare a closely related pale celadon and russet jade bangle carved with three rams, also dated to the Qing dynasty, at Bonhams London in Asian Art on 10 May 2021, lot 247, sold for GBP 7,012. Compare a yellow and russet jade bangle carved with elephant heads, dated to the 18th century, at Sotheby's Hong Kong in Qing Dynasty Jade Carvings From A Hong Kong Collection on 31 May 2017, lot 72, sold for HKD 275,000. Compare a pale celadon and brown jade bangle carved with chilong and dated to the 18th century at Sotheby's Hong Kong in Chinese Art on 24 November 2014, lot 1294, sold for HKD 137,500.清代"穆王八駿"青玉鐲 中國，十八至十九世紀。玉鐲巧妙浮雕穆王八駿馬，姿態各異，仰臥，雙腿懸空，跺蹄，馳騁。 半透明青玉石，帶有淡綠、棕色和白色的陰影以及内沁和紋理。 來源：英國肯特郡私人收藏，購於1970至1980年間。 品相：狀況極佳，有輕微磨損和使用痕跡。 帶有天然紋理的石料，隨著時間的推移，其中一些可能會發展成細小的裂縫。 重量：79.6 克 尺寸：直徑8.7 厘米 拍賣結果比較：比較一件相近的清代青白玉帶皮"三羊開泰"玉鐲，見倫敦邦翰思Asian Art 2021年5月10日 lot 247, 售價GBP 7,012；比較一件十八世紀黃玉帶皮象首玉鐲，見香港蘇富比Qing Dynasty Jade Carvings From A Hong Kong Collection 2017年5月31日 lot 72, 售價HKD 275,000；比較一件十八世紀螭龍紋青白玉鐲，見香港蘇富比Chinese Art 2014年11月24日 lot 1294, 售價HKD 137,500。

A MUGHAL-STYLE CELADON JADE VASE AND COVER, QING DYNASTYChina, 19th century. The extremely thin baluster sides rising from a spreading foot with a domed base to a short waisted neck with a lipped rim, surmounted by a domed cover with a lotus bud finial. The sides are crisply carved in relief with lotus sprays between stiff leaves, the cover and finial additionally decorated with petals. The translucent stone is of a decent pale-celadon tone with cloudy white inclusions and few dark speckles.Provenance: From the private collection of Professor Filippo Salviati, Rome, Italy, acquired at Unica Fine Art Expo, Modena, Italy, in 2014. Galerie Zacke, Fine Chinese Art, Buddhism and Hinduism, 27 September 2019, lot 216. A private collector in Hungary, acquired from the above. A professor of archeology and art history at the Italian Institute of Oriental Studies at the Sapienza University of Rome, Prof. Salviati has researched and published extensively on Chinese archaic art and jades in particular. His book "Radiant Stones: Archaic Chinese Jade" from 2004 is considered a cornerstone publication in the field of ancient Chinese Jade.Condition: Excellent condition with minor wear. The stone with natural fissures, some of which have developed into small hairline cracks over time. Fine, unctuous feel overall.Weight: 165.5 gDimensions: Height 17.7 cmAuction result comparison: Compare a related Mughal-style celadon jade vase and cover, dated 18th-19th century, at Sotheby's New York in Fine Chinese Ceramics and Works of Art on 23 March 2011, lot 778, sold for USD 50,000, and another of larger size (28 cm high) at Bonhams San Francisco in Fine Asian Art on 21 June 2011, lot 8088, sold for USD 14,640. 清代蒙兀兒風格青玉蓮紋蓋瓶 中國，十九世紀。直口，豐肩，斂腹，平面底，蓮花寳頂高圓蓋。瓶身清晰浮雕纏枝蓮紋，蓋子上施倒蓮紋。半透明的玉石呈淡青色，帶有白色絮狀物和很少的黑斑。 來源：義大利羅馬Filippo Salviati教授私人收藏，2014年購於義大利摩登那Unica Fine Art Expo藝博。見本藝廊 Fine Chinese Art, Buddhism and Hinduism 2019年9月27日lot 216. 匈牙利私人藏家購於上述拍賣。Filippo Salviati教授是羅馬大學東亞研究所考古系及藝術史系教授。 Salviati教授對中國古代文物以及玉器進行了廣泛研究並出版了很多專著。他2014年出版的 "Radiant Stones: Archaic Chinese Jade" 被認爲是中國古代玉器領域的奠基出版物。 品相：狀況極佳，輕微磨損，少量天然裂縫，其中一些裂縫隨著時間的推移可能會發展成微小的裂縫。總體細膩潤澤。 重量：165.5 克 尺寸：高17.7 厘米 拍賣結果比較：比較一件相近蒙兀兒風格青玉蓋瓶，十八至十九世紀，見紐約蘇富比Fine Chinese Ceramics and Works of Art 2011年3月23日lot 778, 售價USD 50,000；另一件尺寸更大 (高28 厘米) 見舊金山邦翰思Fine Asian Art 2011年 6月21日 lot 8088, 售價USD 14,640。